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Hope alls well and your looking forward to the weekend. In light of his performance next Saturday the 15^th of August We have here Anthony Rother’s track ‘Big Boys’ to offer you

download it here

and don’t miss this HUGE party!

Lee Curtis will be at Fabric next Saturday the 18t of July and they’ve conceded Minimaland a mix from him (along with the tracklist) that he’s put together in prep for his performance. Clean mix in a great style, if you’re around London next Saturday, don’t miss this one… Akufen, Lee Curtis, Troy Pearce, Clickbox deserve our deep respect!

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1. “Sued” Canson_ Unreleased
2. ” I Keep Secrets” LeLoup_ Wolf and Lamb
3. “South Aphrika” Lee Curtiss _ Wolf and Lamb
4.”From Above” Butch and Virginia _Area Remote
5. “Bring It” Inxec and Matt Tolfrey_ Unreleased
6.”Yeah” Deniz Kurtel_ Unreleased
7.”Ruff Cut” DJ Ali _Classic
8.”Temptation” DJ Dealer (Cervin’s Club Temptation Mix)
9.”Here To Stay” Soni (Filsonik Mix) _ Vega Records
10.”Turning Tricks” Hot Natured_Culprit
11.”Cheezy Beats” Edit by Bambi_unreleased
12.”I’d Rather Not Say” Drunky unreleased
13.”Neverdorf” Pawas and Martin Beume_ Brut !
14.”Good Voodoo” Kiki (Visionquest Remix)_ B Pitchcontrol
15.”I’ll Set Your House” Gadi Mizrahi_ Wolf + Lamb
16.”The Glow” Lee Curtiss_ unreleased

download here

It’s difficult to know where to begin with an artist as complex and multifaceted as Jay Haze. On one hand, his upbringing – desolate beginnings in the processing plant-infested lands of northeast Pennsylvania, surrounded by drug addiction, death, group homes and jail – is a tainted window into the complicated soul within. But on the other hand, against all odds, nothing has overshadowed his talents, and the family of like-minded artists he has shaped is testament to his unshakable spirit and unerring ability.

Jay Haze stands out as a visionary in the world of techno and house, a true nonconformist within a blinkered scene. But his work supports his revered status as an exceedingly prolific producer, DJ, live performer, collaborator and label owner. His wide-ranging labels ring true to themselves and never sway, each holding on tight to their own characteristic sound and group of artists: the house-oriented TuningSpork; the harder hitting tech-based Contexterrior and the downtempto dubby tones of Future Dub.

“TuningSpork was always the more housey one. Getting people to laugh is a form of seduction, and that’s what TuningSpork is about: being positive, funny, not taking itself too seriously. Then Contexterrior was more serious, more avant garde, more pushing the limits of sounds. I started TuningSpork with Sean O’Neal, aka Someone Else, and Bjoern Hartman, and then I started Contexterrior on my own. Future Dub was a label that exists, but never really existed. We have had 6 releases in 9 years, it was just for my love of dub reggae; if it comes, I’ll release it. I have so many different musical loves.” – Jay Haze

Jay also brought on the explosion of 2003’s Textone, his inventive creation of an online music magazine and internet label, which was created years before digital stores like Beatport or the now-prevalent online magazines/blogs had caught on. Beyond his own labels, Jay Haze’s genre-expanding, experimental productions have graced the catalogues of Playhouse, Kitty-Yo, Cocoon, Get Physical, and his remixes have been on labels far and wide, from Shitkatapult to Playhouse to BPitch Control to Soma. In 2005, he released his debut LP on Kitty-Yo, ‘Love For a Strange World,’ an album that challenged the world of techno further by questioning genre lines and embracing all that’s unconventional and unpredictable. His more dancefloor (and humour) geared moniker Fuckpony launched his career with Get Physical, the ‘Children of Love’ album being one of the most celebrated underground albums of 2006.

It’s interesting that someone whose life story has so many dark chapters still dedicates much of his music to love – wearing his heart on his record sleeves, for instance, as well as his endless dedication to charity work. “I’ve been homeless two times not by my own doing – by life situations, crazy coincidences. In those times on the street, I have seen the lowest things you could possibly imagine – paedophiles, blood suckers, I know what this world is made of. It’s these things that motivate me to do charity work. I want to help people who have it even worse than I did. When I was younger, I got so stuck on thinking my life was so bad, lost in really dark moments – but as I get older, all I can think about is helping others. I think it comes with the happiness of still being alive.” – Jay Haze

And it’s this that leads us on to fabric 47, an incomparable mix that lends itself to the world, in more ways than one. In addition to donating a piece of himself to the music world, Jay Haze will also be donating all profits made from the mix to the rest of the world, specifically “The Democratic Republic of Congo. I work with different charities, and because fabric is a UK company, I wanted to honour that and do something in the UK, so I’m working with Merlin Health Services. What they do is really positive, and 95% of every dollar you give goes out into the field, and this is provable. Right now, they’re working in Congo, a country of 75 million people that’s been in civil war for 50 years. 1200 people die every day of simple things, preventable things, and it breaks my heart.” – Jay Haze

fabric 47 is the deep, wandering heartbeat of 4/4’s most bold, valiant and versatile character; a bright, cohesive mix that is inherently Jay Haze through and through. Deeply-rooted in his free and capricious spirit, the flawlessly assembled collection of tracks thump with soul and alluring eccentricities. Grooving with an airtight flow across wide-ranging beats and styles, fabric 47 is a charismatic portrait of Jay Haze’s musical clan: the mix not only showcases the peerless artists he works with on his family of labels, as well as the many monikers that comprise Jay Haze, it’s also a glimpse into the soul-fuelled, future sound that they’ve collectively mastered. Teased throughout with samples from his Fuckpony track ‘Lady Judy’ (a song dedicated to our own fabric promoter, Judy Griffith – and a nod to the Daniel Bell classic, ‘Baby Judy’), he takes things dubbier with Alex Celler’s enchanting ‘Trapped In Dub’, trippier with the groove-laden ‘Mellow Dee’ (created with former studio partner Ricardo Villalobos in ’08), and epic with the penultimate Fuckpony track, ‘Burning’, fabric 47 is Jay Haze incarnate; deep, daring and brave. Seventy minutes in the company of this disc leaves you feeling edified and your faith in music’s brilliance renewed.

“I realized this mix was a great opportunity for me to put my people on, and it represents exactly what I stand for in this scene and my contribution. In the beginning I thought, should I put my own labels’ music on here? Is that too daft? But after some serious thinking, I really couldn’t be happier with the way it came together. I was able to get some of the core artists I work with to give me some exclusives, some yet to be released and even some edits of tracks I loved from their pasts. And I was able to combine it with a cause I believe is worth fighting for, so in a sense all the music I used brought my artists closer to me, and made them part of my experience. It’s a very personal mix” – Jay Haze

Tracklisting:
01 – Intro
02 – Jay Haze – Awakening – TuningSpork
03 – Lil Dirrty Ghetto Bastard – An Hour To Fly – Tuningspork
04 – Mike Dunn Presents MR. 69 – Phreaky MF (Mike Dunn’s Original Phreak Mixx) – Robsoul
05 – Lump Ft. Lerato – Confusion – Contexterrior
06 – Catrat Ft. Yah Meek – Freedom (Jay Haze Main Mix) – Best Seven/ Bestworks
07 – Alex Celler – Trapped In Dub – TuningSpork
08 – Miss Fitz – Dimentia – Contexterrior
09 – Jay Haze Ft. Ricardo Villalobos – Mellow Dee – Contexterrior
10 – DIY – Pimp My Saw – TuningSpork
11 – Jay Haze Ft. D:exter – I Can’t Forget (Fuckpony Discotech Dub) – TuningSpork
12 – Chicago Wasted Youth – Mars Or Bust – TuningSpork
13 – The Last Poets – When The Revolution Comes – Charly
Pheek – Soundscape – Contexterrior
14 – Michael Ho – Ain’t Going Out Like that (Exclusive) – TuningSpork
15 – Dirty Bee – Work For Me – Roots 1027
16 – Johnny Fiasco – Conduction – Juan Lopez
17 – Hugo – Pimpin’ Ain’t Easy – Goodvibes
18 – Ms. Minelli – Ancient Blessing – Toys For Boys
19 – Fuckpony – Burning – Bpitch Control
20 – Rockey – Something To Say – Tuningspork

Release Date: 13.07.2009

Minimaland Feedback: As Dj and Producer Jay Haze has always had a classy presence. His genuine taste made him one of the greatest among the tech minimal scene and this mix for fabric confirms all his potential. Refined selection of tracks, great mixing skills and some exclusive tracks turned Fabric 47 into one of the finest editions till now! Full support!

SATURDAY 14th MARCH 2009
TEN YEARS OF POKER FLAT…

ROOM ONE: TEN YEARS OF POKER FLAT… Steve Bug, Martin Landsky, D’Julz
ROOM TWO: Terry Francis, Slam, Edit_Select (LIVE)
ROOM THREE: Craig Richards, Daniel Bell

The year is 1999: the Euro has just launched, people are panicking about the millennium bug, there’s a total eclipse happening, Bill Clinton is president of the US, Glenn Hoddle is still England manager……and somewhere in Germany, Steve Bug is plotting world domination. Ten years on and his vision has borne fruit many times over – the upshot of this scheming was Poker Flat, a record label that embodied and epitomised the stripped-down minimal sound that has been ubiquitous for much of the last decade.

From Guido Schneider to Phonique to Trentemoller, some of house and techno’s most feted composers have come to prominence through their accomplishments on Poker Flat wax. The label was among the building blocks of minimal – and has remained relevant; always progressing, always willing to push new artists, and to this day it strides on as one of the most pioneering labels in electronic music. They recently marked another landmark with their one hundredth single release, the ‘House of God’ remix package, which includes Phonique’s reworking (a track that also appears on their commemorative tenth anniversary release ‘Poker Flat, ‘All In’). This three disc special is divided into Poker Flat classics, the best of the current crop, and a disc of unreleased hidden gems from the vaults.

On Saturday March 14 Steve Bug and posse will share their unbridled (or unhinged) joy at reaching this landmark with the faithful in fabric’s Room One. Conducting the glee, Steve Bug will be guiding his loyal following through a set of music plucked from house and techno’s bleeding edge. Joining him will be the Poker Flat family genius Martin Landsky, a man who combines elements from across the techno spectrum, from sparse bleepy goodness to thick beats and tougher basslines. Rounding off the lineup is D’Julz, a long term associate of the Poker Flat family – releasing on the label over the years, as well as its house-orientated sibling Dessous – who will set the dial to quality, underground, deep house.

Those well-versed in techno will need no introduction to Slam. This Scottish duo is largely responsible for nurturing one of the world’s finest techno scenes, in Glasgow. Their brainchild Soma Records has been a solid pillar of electronic music for over fifteen years, and been home to their own music as well as to the likes of Funk D’Void, Alex Smoke and most famously the first releases by Daft Punk. They will be bringing Soma quality deep, pulsing techno to Room Two. Also in the cavernous confines of our second room will be Terry Francis and Edit_Select, who will be keeping the Glasgow vibe burning with a live set of his intense minimal techno.

In Room Three, Craig Richards makes one of his occasional forays upstairs, so expect something a bit different from him. Craig will be joined by the veteran and legend Daniel Bell, a man whose music in the early 90s is widely recognized as one of the pre-cursors to the minimal house and techno sounds that were later developed by the likes of Poker Flat – that’s some pedigree.

“It means a lot to celebrate at fabric. I’ve been playing regularly there for a long time now, I did a fabric mix CD a while ago and now we are cel

ebrating our 10 years anniversary together – that’s what I call a REAL relationship,” Steve Bug says with a wink and a smile. “This will be D’Julz’s first appearance in fabric in years – same with Martin, the music will be great all night long.”

SATURDAY 14/03/09
fabric
11pm-8am

tickets: 0870 0600 100 or www.fabriclondon.com
£16/£12(Students/fabricfirst Members) £8 for all from 4am, £5 from 5am.

ROOM ONE:

TEN YEARS OF POKER FLAT…

Steve Bug, Martin Landsky, D’Julz

ROOM TWO:
Terry Francis,

Slam, Edit_Select (LIVE)

ROOM THREE:
Craig Richards, Daniel Bell

More Info:

http://www.fabriclondon.com/.

Rhythm has always been the string that holds together the vibrant, flowing fabric of John Tejada’s career – even from the age of 8, when he lost himself in a love affair with the drums, or from the age of 12, when he first started DJing. Far too young to DJ at clubs, John spent his youth DJing hip hop (“The stuff that struck me most was always sort of Arthur Baker sound – Planet Rock, Planet Pattrol, Egyptian Lover and the Kraftwerk influence”) at school dances and throughout the backyard party scene in sunny Los Angeles. It’s rather difficult to imagine John Tejada, nothing short of a techno legend – a linchpin in the scene’s development as a seminal producer, DJ, remixer and label owner – being a hip hop DJ.

“The electronic sounds that now would be considered something else were part of hip hop culture; it was those sounds that I latched onto when I first heard acid house and early Chicago stuff. DJing back then, I felt this responsibility to play more mainstream sounds. That’s been a constant battle my whole life: to want to make people get into experimental sounds, but then also having to realize that it’s a party, people want to dance. Finding that middle ground that might make everyone happy is still, to this day, something that I have trouble with.” – John Tejada

John certainly has had no trouble finding a core audience despite his experimental tendencies. Even as a teenager, unable to get into the groove of high school because he was obsessed by the grooves of his records, he got hooked up with a college radio show in LA called Fly ID, which instantly (and unknowingly) became a cult sensation. Upon meeting a kindred spirit named Arian Leviste, John ditched a scholarship for a prestigious art school and instead threw himself straight into the studio world, working at a sound library/post-production music company. The two of them put their hand to collaborative productions in ’91 and the chemistry was absolute: together, the expansive pair has produced over a dozen singles and three immaculate albums.

As a solo artist, John Tejada’s prolific discography is daunting to behold, with 11 albums under his ever-expanding belt (for labels such as Plug Research, Playhouse and Immigrant), in addition to four as I’m Not A Gun with guitarist Takeshi Nishimoto. He’s also unleashed a myriad of EP’s with a mind-boggingly enviable list of labels (Pokerflat, 7th City and ~scape, to name but a very few), not forgetting his endless remix work for the likes of Ghostly, KMS, Buzzin’ Fly, Gigolo Records and Sub Pop. In 1996, John launched his own label, Palette, as a freeing outlet for his own infinite productions. Now celebrating well over 50 releases, Palette has opened its arms to The Rip Off Artist, Pieter K, DJ Abstract, Dominick Martin, Dave Hughes, as well as John’s highly-celebrated collaborations with Justin Maxwell and of course his old friend, Arian (who he still tours with quite regularly).

“My newest project is a band project I do with a friend, ‘I’m Not A Gun,’ which was on a Berlin label called City Centre Offices for 3 albums. It’s almost indie-rock-jazz. I felt like I have a label to branch out the Palette sounds – it doesn’t have to be pinned down to techno or house – so we’ve just released our most recent album on Palette. I’ve created music that people would call up-tempo ambient, techno house, drum and bass or whatever – people get so hung up on genres. Honestly what I’m producing, even if it’s live instrumentation with the band, is all based on rhythm and melody. Some of it’s faster and some of it’s slower. A lot of people don’t like that explanation, but to me it’s a very honest explanation. The process is the same.” – John Tejada

On fabric 44, John Tejada swoops in and swells with a deep, pulsating mix that swallows the listener whole. Breeding energetic beats amongst beautifully woven layers and intricate patterns, the mix hypnotizes and stuns with complex sonic artistry. A dense masterclass in melodic techno, fabric 44 features the driving feel of the Palette All Stars (Tejada with Arian Leviste and Justin Maxwell), the distinct rhythmic stomp of Orbital, slick harmonics from Beatstreet’s Pigeon, and Tejada’s own synth-heavy bleeps, all wrapped in a warm electronic embrace.

“When I finally listened to the mix, I put a lot of attention to detail of the way the tracks came together in and out. I did edit the tracks quite a bit, but it’s really subtle and it just helps with the flowing journey, to take it one step above of what you might hear when a DJ plays out. I wanted the whole track selection to turn into one piece of music: a techno-classical piece that has movements and moods from start to finish, like conducting an electronic symphony.” – John Tejada

Tracklisting:
01 Dave Hughes – Let’s Do It – Palette
02 Pigon – Kamm – Beatstreet
03 Namlook – Subharmonic Atoms – Macro
04 Donnacha Costello – Colorseries Olive B – Minimise
05 WAX – WAX10001 – Hardwax
06 Nekes – Cristal – Oslo Records
07 Alex Cortez – Phlogiston EP – Pal SL
08 Palette All-Stars – Downtown Hotel – Palette
09 Palette All-Stars – After School Special – Palette
10 EQD – Equalized001 – Hardwax
11 John Tejada & Justin Maxwell – Benus Boats – Palette
12 John Tejada & Arian Leviste – M Track 1 – Palette
13 Orbital – Farenheit 303 – FFRR
14 John Tejada – Torque – Palette
15 M-Core – Be Gene – Ifach
16 John Tejada & Arian Leviste – Forbidden Planet – Palette
17 Substance – Relish (Shed Remix) – Scion Versions
18 Spooky – Candy – Spooky
19 John Tejada – The Open – Palette
20 LJ Kruzer – Huba (Plaid’s 15 Years Lost Remix) – Uncharted Audio

Minimaland Feedback: Jonh Delivers!

Some musical partnerships seem to require a leap of faith or a suspension of our collective disbelief; others progress come along so naturally that the synergy almost seems fated, their work resolutely undeniable. Brooklyn-based Metro Area (Morgan Geist and Darshan Jesrani) is of the latter group without doubt: a beautifully harmonious relationship wherein the duo push and pull in all the right directions without compromise. Although both listened to pop RnB/electro of the mid 80s growing up in quiet pockets of the East coast (Darshan in Poughkeepsie, New York and Morgan in New Jersey), they independently found themselves drawn to synthesizers and the techy side of producing long before they discovered one another.

Morgan Geist: “I feel like I was designed to do studio work or electronic music; it must be in my genes or something. When I was little I used to tape myself playing something on the piano and then I’d rewind, play it back and play over it. So before I even had a sequencer, I was doing live multi-tracking when I was quite small. And I remember my dad had ‘Future Shock’ by Herbie Hancock; I remember reading the back of that record and triying to figure out what a Memory Moog and Mini Moog were. Speaking of which, weirdly enough – it’s like fate set it up for me – when I was really young, I had a babysitter who was a musician and he used to bring over synthesizer catalogues. I used to look at these Roland catalogues and, even though I didn’t know what they were, just the synth names – like, Juno and Jupiter – it was the kind of shit that a little boy could get into. I got a keyboard as soon as I could, when I was about 15.”

Darshan Jesrani: “My dad had a lot of Indian music, as he’s from Bombay. He used to play Lata Mangeshkar and all the hi-fi stuff was in the living room, so I gravitated toward it by looking through all of the records. He also had an open-reel tape deck and I used to play with that a lot. One of Kiss FM’s DJs, Shep Bettibone, did special remixes of R&B hits and very early rap, and those were amazing to me, because he would stretch out and edit the songs and emphasise all the electronic, trippy sounds and textures in them. These were really dance-y and oriented towards club play; they really caught my ear and imagination. That really propelled me in the synthesizer direction, along with a lot of synth-pop stuff like Devo and Thomas Dolby. There was a confluence of things that led me into synthesizer stuff, but I didn’t actually get a synthesizer till I was about 16.” but I didn’t actually get a synthesizer till I was about 16.”

As Morgan and Darshan migrated towards equally remote areas of America for college (Darshan staying in the east coast and Morgan relocating to the Midwest) and gradually coaxed releases from the closed confines of their dorms (Morgan even started his label, Environ, in his dorm room), they simultaneously lived their formative years feeling somewhat misunderstood and somewhat misplaced musically. It’s a sentiment that’s rung true from when they met each other on email lists in the days before internet forums through their early days when the two first teamed up as an avant-garde, creatively unbound production/DJ team.

Darshan Jesrani: “Because we went to school in such isolated areas, we were both on these music mailing lists. It was the text email equivalent of chat boards. From the conversations we were having on the mailing lists, I really liked where Morgan was coming from. A friend of mine had one of his first records and I was really into it. I don’t think we met until right after we graduated, around ’95 or ’96. We met in the city, at a record store on 14th Street, just to get some records and chat. We tried to make some things together around 1996, first experiments. I think Morgan and I have different, but complimentary, angles that we approach the music from. Taken broadly, we’re into the same thing, but we have slightly different styles, or we’ll play slightly different records – sometimes we overlap.”

Morgan Geist: “When we first met, we had similar tastes but coming from a different perspective. Like with Ron Trent or Derrick Carter, I would have something coming from the more abstract tracky Chicago side, and he was more into the house side of it. It was sort of revelatory, because we’d have almost the same artists in our collections but we didn’t know each other’s records.”

With disco-infused sounds seducing unsuspecting Londoners across a wide spectrum of independent scenes, step beyond the pigeon-holed scenesters and step up to Metro Area’s brand of obscure disco, which they have promoted with no regard for hype or popularity since their very first dancefloor explorations. Both gifted producers with a knack for textures and dynamics, Metro Area embraces sweetly tuned synths and warm grooves, effortlessly unifying the synthetic and the organic and, likewise, fusing early Detroit techno and Chicago house with 70s boogie and Harlem-birthed underground disco. While their vibrant releases (from the depth of ‘Atmospherique’ on Metro Area 1 in ‘97 to the shimmering brilliance of ‘Miura’ on 2001’s Metro Area 4 to the classy disco shine of ‘07’s Metro Area 7) are deemed nothing short of classic today, it took a little while for the rest of the world to catch up.

Morgan Geist: “In college, I always felt out of step with everyone – even at Oberlin in ‘95, I’d DJ Chicago Trax records, Detroit techno records and Kraftwerk, and people would fucking run off the floor. (laughs) I felt completely isolated when I was there. That’s why I’d go to Detroit and Chicago, just to get away. So I started DJing in college, and then Darshan and I started playing together. And we were playing disco, so it was also a phase of feeling out of step – for a long time, I felt like people didn’t really get it, and all of a sudden, people sort of came around. I keep hearing people say how there’s some disco renaissance now, and I don’t really understand where why people are saying that – I would say it happened in 2001, 2002, 2003. Maybe it’s just because Hercules & Love Affair is everywhere now? Or maybe it’s because I’m in New York.”

Fabric 43, an artistically arranged and brightly coloured journey through Metro Area’s vast record collections, remains as reflective as it is forward-thinking. Metro Area deliver a peerless jam-packed mix of Easy Street dance classics (World Premiere’s “Share The Night”) through to 80’s club hits (“Work For Love” by Ministry), with a generous helping of disco and boogie anthems and electropop output from the likes of Premiere Class. Poppy and infectious, retro and yet timeless, Fabric 43 dazzles with uplifting dancefloor gold.

Darshan Jesrani: “It’s a really mixed bag of music, but it’s all really groovy stuff. There’s some not so obvious disco, there’s some sort of really spare and weird NY house tracks – we had to figure out how to make it cohesive. We did a few of our own custom deep tracks and made some little drum tracks and little mixing utilities to throw in there as well.”

Morgan Geist: “We’re trying to not put in the classic records that we’ve played forever. We wanted to explore an area that’s not mined so heavily, but still have an emphasis on the older disco stuff. So we thought we’d do a mid 80s sort of thing, which is kind of a neglected time period but there’s some really nice records from then. With fabric mix CDs, it can sometimes be so homogenous; it’s like this perfect, classy, very coherent single thought. But that’s not how we DJ, so I think we decided we’d try and touch on a lot of different things, almost like a party mix. We’ve made some rhythm tracks to tie it all together, our own original edits. I actually really hate the re-edit culture that’s going on, where everything’s just a bootleg or an edit. I’m really pro personal-use-edits, that’s what edits should be anyway.”

Minimaland Feedback: “disco is back”

Tracklist:
01 Babla’s Disco Sensation – Ghar Aya Mera Pardesi (Intro)
02 World Premiere – Share the Night (Breakdown Mix)
03 Ministry – Work for Love (Dub Mix)
04 The Disco Four – Move to the Groove (Instrumental)
05 Skratch – You Should Have Known Better (Instrumental)
06 Barbara Norris – Heavy Hitter (Dub Version)
07 Gary’s Gang – Makin’ Music (Dub Mix)
08 Voyage – Souvenirs
09 Five Special – Why Leave Us Alone (Long Version)
10 Ray Martinez – The Natives are Restless
11 Dreamhouse – I Can Feel It
12 Mascara – Baja (Instrumental Dub Version)
13 Play by Numbers – Cloud Nine (Ready Mix)
14 Midway – Set it Out (Funky Breakdown Mix)
15 Heaven 17 – Penthouse and Pavement
16 Data – Blow (Remix)
17 Atmosphere – Swede’s Scandal
18 Wiretap – X-Rated Man
19 Plez – I Can’t Stop (Acid Rainforest Mix)
20 Baby Oliver – Feelings2
21 Jean Luc Ponty – Open Mind (Special Dance Mix)
22 Premiere Class – Poupée Flash
23 Devo – Freedom of Choice

Rls Date: 10.11.2008 Usa: 25.11.2008

The Mole will be playing live at Fabric next saturday (6 of September) and it’s a party that you can’t miss! To celebrate this event Minimaland.Com has an exclusive set to share with all our readers… enjoy.

Download here – The Mole Live, at Fabric

After having Luciano in their decks, the Fabric series continue to surprise us! In their 42nd edition, that will be out in the middle of September, they invited Kristian Beyer and Frank Wiedermann to mix it! The duo from Karlsruhe started their musical career on Sonar Kollektiv and soon they became one of the most successful act of the entire electronic movement. The hit “rej” is the best example of it.

On ‘fabric 42,’ Âme creates a great soundtrack to the last days of summer.

It was with great satisfaction that we interviewed Amê directly to the minimaland.com readers.

Minimaland.com: Hello Frank and Kristian ! Fabric has a great name on the electronic nowadays scene. Do you consider this album a great achievement on your careers as a duo?

Frank: Of course, I think It is a nice opportunity to do a fabric mix cd and when fabric offered it, we were proud, we accepted the offer, and yeah, we did a mix cd for them.

Kristian: Yeah, of course.

Minimaland.com: So, tell us a little bit more about this new work , what can the readers of the Minimaland.com expect from this first release on fabric?

Frank: Definitely a more electronic techno orientated mix cd than we normally do, because was more a tribute to fabric club, with musics popular there and that we played there. Maybe people expected a more housier cd, but I would say it’s more techno orientated than we normally do.

Minimaland.com: Now talking a little bit more about this compilation, what kind of criteria did you used when making the selection of the musics? …with so many good things appearing everyday, this could be a difficult process… and the question is: What kind of aspects do you consider important when making a selection of fourteen musics?

Frank: we went to our record collection from ten/fifteen years before till now and we choose like forty / fifty tracks that should be on there, which are not so well known and weren’t on every compilation in the last ten years, so we had like forty tracks at the end, and then the listening department from fabric said ok, we got like twenty six tracks ready for the compilation and out of that, we choose the eighteen tracks which fit together, I’ll say. But I realize that the problem in these days, with internet, file-sharing… People are really educated, so they know everything and to find a special selection for a mix cd is really hard. We always try to keep an eye on what’s going on, so I hope we are a little bit further ….than the rest!

Minimaland.com: So can we expect this to be something played by the Âme duo around club gigs, or is it something to be appreciated with some kind of different mood?

Frank: Yeah, it depends you know, if we play in bigger clubs we’ll definitely play more like that, and if we play in smaller clubs, we’ll play more housy. It always depends on the venue and the party, I would say, the crowd.

Minimaland.com: Changing a little our way now… Your productions are acclaimed under nowadays electronic clubbing scene. What’s it like to hear some of the biggest DJ’s in the world playing your musics?

Frank: That’s a nice feeling! (laughs). You know, after all this years you get used to it a bit, but still I’m happy when I watch somebody like last…. It was Los Monegros (www.monegrosfestival.com) like four weeks before?

Kristian: Three or four weeks

Frank: Three or four weeks before when Laurent Garnier opened his set with a track from us, I was really happy! I felt proud at this moment!

Minimaland.com: Oh yeah, at Los Monegros desert festival?

Frank: Yeah, we’ve played at Monegros and after we finished our set, I watched Laurent playing, because is a good friend and he released a record in our label, then He opened with a new record from us and then it was like… A great moment!

Minimaland.com: What producers and DJ’s do you admire and draw influences from?

Kristian – Too many, maybe! There so many.. We are listening to Luciano or some Romanian Guys, like Buda, and we deeply like some older stuff from Chicago, Detroit… also we are always listening to completely different music like more experimental stuff and also out of the electronic context like Terry Riley! And it all comes together in our music! We try to live in our music!

Minimaland.com: And how did you started to feel the appealing of today’s electronic world? Some producers say that’s like the calling to be a priest!

Frank – I started listening techno music fifteen… ohh! Longer (laughs) eighteen years ago and I always follow the music so it’s nothing really new.. The first big boom was in the beginning of the 90’s and I was more a raver but now we are behind the scenes, and in front of the scene, actually.. so it changed for me but it still the same music I’m listening now. Maybe it’s a little more developed than fifteen years ago but it still has the same feeling. And if you watch the scene, the main “keepers” are still the same

Minimaland.com – Yeah! and off course you can see that evolution cause one of yourselves has a record store isn’t that true?

Frank – Yes!

Minimaland.com: Speaking on appealing… do you feel the vinyl appeal? Cause with today’s uprising of playing and producing methods, with new hardware and software appearing on the streets everyday, easing producers and dj’s performances, do u still prefer analog over digital when mixing?

Kristian: The thing is that we always produce our music in a very analog way, you know..with not so much pluggins. So we love Vinyl, we love to play with vinyl, and we really don’t want to to use our computers on stage (laughs).

Frank: …hmmm .. the computers and the new technology are not the enemy, you know? Well, we don’t like it, so we don’t use FinalScratch, Serato and things like these… but it’s not the “enemy”!

Minimaland.com: And producing?

Frank: Hmm… I think it’s more the combination. We are not afraid of the new technologies, so we combine both. The good side from analog technology and digital technology

Kristian – I guess it’s more trying when you’re doing.. you know, sometimes we are sitting in the studio doing stuff a few weeks, and it could be that we follow the first idea that we have with two tracks to compete more with each other, and suddenly it’s filled around.. and so we just let it out. Not such a construction thing, but in a certain way more spontaneously.

Minimaland.com: You have released tracks on labels such as Sonar Kollektiv, Defected, Innervisions and now appears this mix on fabric.. What have you been up to in the studio lately? Anything we should keep our ears pricked for in the future?

Kristian – On this fabric there’s a new track from us that we did with Henrik Schwarz and Dixon called D.P.O.M.B. and it’s already out now on Innervisions. We have also an Ep to be released till the end of the year on Innervisions also… And with Dixon and Henrik we are also working on a completely different compilation for Another label !

Minimaland.com: In what club did you enjoyed most the pleasure of mixing to a great crowd? Size matters?

Kristian: Humm… in terms of smaller sizes then yes, because I think mostly the club are not that huge – including fabric – are better to play, you’re more near to the audience but sometimes it’s also cool to play on really huge sets where we have 3000 or 4000 people watching us, but it depends you know.

Minimaland.com:A small thing seems more a familiar thing off course?

Kristian: Exactly

Minimaland.com: Do you think nowadays electronic is reaching the non-return point where it can’t re-invent again? Or something more is appearing?

Frank – Cool!.. That’s a good question! (Laughs). I think that if you look back there will be always a development, the development it’s not part of a new philosophy, but there was always a slightly development in music. It’s a special scene and I think it’s open to new stuff and new technology so it will go on the next 10, 15 years…

Kristian – You just have to look around on what’s happening in the technology. It’s a constant evolution, ten years ago we had only like 4 or 5 samples to use but now we have a huge quality library.

Minimaland.com: And do you think the genre that now we call minimal (that’s now dividing in new sub-genres) has a word to say on that?

Frank –I think People like to find like a name for something. It was always there and it will be always there. For me it’s house music and techno music divided in different subgenres or whatever.

Minimaland.com: Some quick questions now: Best clubbing city? Best Gig? Favorite music of all times? First electronic favourite music? Electronic only at club or at home also?

Clubbing city: Tokyo, London, Berlin and I know you’re living in Barcelona (laughs) but I especially like Madrid.

Best gig – They are too many, quite a lot and remarkable gigs.

Favourite music – Frank: For me it’s Riders on the Storm from the Doors.

Kristian: Miles Davis – Bitches Brew.

Minimaland.com:Electronic only at club or at home also?

Kristian – More at clubs

Frank – You know, I have a record shop and I have to play at the weekends so I’m listening most of the times at home not electronic music. Because I’m surrounded with electronic music all the time so you have to listen something else at some point.

Minimaland.com: …Something to say to the minimaland.com and its readers?

Frank – Hmm…. Just follow your passion!!!

Thanks a lot for the interview, minimaland.com wishes good luck to you and your productions. Hope to see each other again, on the minimal land, it’s a good sign! Thanks. Bye

Useful links: http://www.fabriclondon.com/