Cuemix 05

Christopher
Willits
cuemix
The Science Issue

FREE DOWNLOAD

The Flashbulb
NAME
Underground
Resistance

THE CHART ISSUE

Mad Ep
www.cuemix-magazine.com

MAGAZINE

Jamie Lidell
Jason Forrest
Johannes Heil
DJ 3000
ISSUE 05 DJ Bone
WEB

Next Life
Trentemöller
Cuemix 05 The Science Issue The Science Issue Cuemix 05

 

Nr 05

With a chart you can describe advantage –

disadvantage, benefit – loss ... everything. Yes.
you can rate every even feelings in a open scale. In
this issue you see no pictures just charts, no com-
menst or explanation just the interview and charts.
What do these chart mean? Do they rate the artist?
The interview? The music? The success of
THE CHART ISSUE the artist?

In the end these charts mean nothing.They should

only baffle you! At first sight it seems they that
EDITORIAL
something is rated by them. But the message is a
different one. You can’t rate art and especially mu-
sic. Music is a part of each of us, it must be feeled
with your heart ... Especially in nowadays in which
things become bigger, faster and more confusing
every day.
01 02 03 04 05 06 07 08 09 10 11 12 13

Cuemix Number 05 | The Chart Issue

Cuemix 05 The Science Issue The Science Issue Cuemix 05

 

INDEX
11 Christopher
Willits

10 The Flashbulb

09 Underground
Resistance

08 Mad Ep

07 Jamie Lidell

06 Jason Forrest

05 Johannes Heil

04 DJ 3000

03 DJ Bone

02 Next Life

01 Trentemöller
POSITION

00
THE CHART ISSUE
WORDS

0 100 200 300 400 500 600 700 800 900 1.000 1.100
Cuemix 05 The Science Issue The Science Issue Cuemix 05

 

Anders
Your New Album is

Trente Called „The Last

Resort“. I Started 

moeller
0 100 200 300 400 500
To Think About The
Meaning Of The
Title For A Few Days
And Came To The Conclusion That It
Must Be Connected With Your Persona-
lity And The Kind Of The Arrangement Of The Tracks/titles. Am I
Wrong? Please Help Me To Understand The Meaning...

Denmark
Cuemix 05 The Science Issue
 
Tr e n t e m ö l l e r
„He he ... I would like not to explain the title.
It‘s up to people to put in the title what they
want. But i like the weirdness and a bit dark
atmosphere in the title. What is the last resort?“
So arranging music which is different to the music
you are famous for is kind of a vacation to you?
I would not say a vacation, because I put a lot of effort in doing
this album. It was much more personal for me. And I felt much
naked in a way, because I could not ‚hide‘ behind a pumping
techno groove.. (smiling)  Making dancemusic  is all about get-
ting people to dance, and that‘s fine, nothing wrong with that,
but in other kinds of music,  rock/electronica etc. , you can go
much deeper, make it more dimensional in a way, because you
don‘t have the limits that are saying: please the dancefloor!
The artwork looks very mystical. The dark trees and
the fog are even look a little bit scary, but in the middle of
the cover is this tree in the 3D colours which catches the eye
and looks like something which gives hope and light. What
is the idea behind the artwork? Is the coloured tree kind of a
symbol? Have you developed the idea for the picture or have
you seen the picture before and thought „this is exactly what
I am looking for“?
I came up with the idea for the cover, but basically the 3D tree
represents some thing artificial, something ‚infected‘ with bits
and electronic ‚noise‘. It‘s a bit like the album. The contrasts
between warm, ‚real‘ instruments/sounds and cold electronic
soundscapes.
“The last Ressort“ is very different to the releases
you‘ve done before, so I was very astounded that you have
recorded the tracks between other sessions you‘ve done.
Does this mean that in the beginning you hadn‘t planned to
The Science Issue Cuemix 05
Ander
Live-House
release them on an album? Or have you planned „The last
Trigbag
Resort“ right from start?
I had actually planned The Last Resort from the start. Not ex-
actly all the tracks but the concept of it. I simply waited until I
had the chance to do a full length album. I knew from the start
that I did not want to do a dance-album. They are so boring, I
think (laughing).
You‘ve recorded  the album with four musicians and
additionally with two different singers. Would it be an in-
1997-2000
teresting option to perform parts of the album live as a band?
Beats
Maybe next year on some festivals, because the album is not
made for the clubs at all… But right now I am working on new
material…so let‘s see what the future brings.
You are known and famous for producing and remi- Ander
xing music which fits more in the genre „dance“ or „electro- Tom von Rosen
nic-music“. Ever had doubts or the fear about the fact that
people who know and love your work you‘ve released before
could probably disagree with the handmade sound of „The Anders Trentemöller
last Resort“?
To be honest, I don‘t care. I actually see it as a plus to surprise
people. And there have been many disappointed people that
don‘t like the album, but then again I have got so much great 0 100 200 300 400 500
feedback from people that loved it, and maybe not normally
listen to electronic music. For me it‘s all about the music. Good
music is good music, no matter what style, new or old…The
album captivates the listener like a movie, or better say like a
Cuemix 05 The Science Issue
10
Poker flat Recordings
The Last Resort
KICK
TRACKS 01 02 03 04 05 06 07 08 09 10 11 12 13
„head-movie“, the music generates the pictures in the head
of the listener. Would it be interesting for you to arrange a
soundtrack for a „real“ movie where your music has to follow
the pictures and the mood of the film?   “The last Resort“ will appear on Poker Flat Recor-
Yeah, I would love that. I am a big movie fan myself. Especially
movies by Almodóvar, David Lynch, Peter Greenaway, Woody
Allen etc. I could watch movies all day and night if I did not
make music (smiles).
From where did you know the musicians and singers
which worked on „The last Resort“?
They are simply all my good friends!
When you‘ve finished the recordings for the album,
which people you present your tracks first? Your girlfriend,
best friends...  and which people are allowed to criticize you
during a producing process or do you wait to present you
tracks until the end of the producing process?
I played some of it for my ex-girlfriend and some for my very
near friends, but I waited until the tracks were totally finished.
It was a very lonely process to make the album, but I like it like
that. I like to ‚dive‘ into my own world in a way.
dings which are also more known for „Dancemusic“.  Do you
recognise the first reactions from the label about the „Last
Resort“ tracks?
Yeah, they have been very positive and have been backing me
100 % up , I must say! So I am very satisfied with their work!
But I also told them from the beginning that I did not want to
do a dance album, so they knew in a way a bit what to expect I
think.
So there wasn‘t any doubt that they will release this
record right from the start?   walking In the stormy weather!
No, not at all!
You separated the instrumental tracks and the vocal tracks
on two discs, what was idea behind this decision?
I did not, in the end, feel that the vocal tracks fit the whole
soundpicture of the album. Suddenly having human voices
with lyrics that you had to identify with, was a bit weird. It sim-
ply distracted me, so I told Poker Flat that we had to do a bonus
CD with the 2 vocal versions, because I still love them, but they
just did not fit the atmosphere on The Last Resort.
Summers nearly over and Autumn knocks on our
doors. The mood of „The last Resort“ fits more into Autumn
or Winter than into Summer. Is it pure chance that the album
will be released in October?   “The Last Resort“ I think everyone needs one... a
No, it was actually Poker Flats idea, and thank god for that
(laughing). Actually the album was finished already in April,
but the whole atmosphere , as you say, is more autumn (my
favourite part of the year actually) so we waited until October,
and that was just perfect. The Last Resort  is great in your Ipod
Which was the first instrument you learned to play?
I learned to play the piano myself. I have never received any
music training.
The Science Issue Cuemix 05
11
Snowflake
Take Me into Your Skin
Like Two Strangers
Have your parents forced you to learn an instru-
ment or did you get interested in music by yourself?
No, not at ball. No one in my family plays any instrument, but
they gave me a piano very early and later I also played drums.
It must have sounded awful (Smiling). But they could see my
big passion for music I think.
last resort is also a place people go if they are being hard-
pressed. Do you sometimes feel scared by things which
happen around you?
Yeah, sometimes. All the focus on me is quite weird..but also
cool sometimes. I get a lot of reactions from people all over
the world on My Space http://www.myspace.com/trente-
moeller   so that’s great to know that there are people really
listening to my album, not only my dance productions. I am
very grateful!
What do you need for a perfect day?
Anders>>> Love, sex, music and good wine!!!! (laughing)
Cuemix 05 The Science Issue The Science Issue Cuemix 05

12 13

„Last week you pla-

SAMPLES

LOOPS
yed a show together Cambrige
with James Brown. ENGLAND

How was it? Becau-

se, I can imagine, it
was a different kind
of audience
Well, I am known for a small section of
electronic audience base around Europe,
and James Brown is a international mega
star and there’s a world of difference bet-
ween us. And that’s why learned from do- UK

ing that show I knew it before, of course, but I had a feeling somehow I
could win the crowd over with my style which happened actually. Some of the younger
members of the audience were really excited. But what I was doing I think, “Look this Huntington

KAOSS-PAD
kid’s not bad, he’s kinda funky.” But I think some of the really old traditionalists, perhaps
some of the real James Brown fans, were like, “...he is not black, he can’t really do this...

SOUL

FUNK
where’s the godfather?” They were polite. It was a respectful audience. They could have
been much harder! I didn’t play so well, to be honest. I played a little bit scrappy. I felt very
woundable on stage. I was very trapped behind my equipment. They had a rise I wished
to roll on. I tried to remain humble for the show because I thought this is crazy I can’t
try to dominate this show like this is one of my own, you know, because this is James
Brown’s fucking show. So I tried to stay quieter and to do my thing just concentrate on
the music. It was nice and quite overwhelming. „
Cuemix 05 The Science Issue The Science Issue Cuemix 05

14 15

UNITED KINGDOM

UK CAMBRIDGE

118.500 UK LONDON

7.421.209
P O P U L AT I O N
Cuemix 05 The Science Issue
16
JAMIE LIDELL
„I tried to remain humble for the show because
I thought this is crazy I can’t try to dominate this
show like this is one of my own, you know,
because this is James Brown’s fucking show. „
02
Do you sleep in a nightliner or do you stay in Colo-
gne this night?
I stay in Cologne this night. It’s a very nice hotel actually. It’s
very relaxed so I think I have the chance to recover. But the pro-
blem is, the shower is a bit bad. The shower’s either completely
hot or totally cold. There’s no fucking way to make it good.
You were born in the countryside?
Yeah I was born in a very small village!
So what was the first big city in your life?
Haha, the first main town in my life was Bristol - which was
an opportune moment in my life, because it was the moment
when Massive Attack and Portishead just started to create a
scene in Bristol; which was making it really exciting to be the-
re because it was one of the music chapters of England at the
time. I timed it perfectly when I just arrived in Bristol. So they
there were. All the clubs and everything was very vibrant at that
time. There was a lot of good music around... and I did my uni-
versity studies and my degree. From there I moved to London
and then to Brighton.      No no no, I mean fairly long time philosophy was the fore-
You also were part of a kind of techno collective a few
years ago?
Yeah, there was two other guys, Jason Leach and DJ Sueme -
still making music under the name Subhead. I made ten EPs
with them in London. Over the course of maybe two years we
made a lot of records. We had a lot of spades. It was the first
record I ever made and the next day it was on KissFM, Colin
Dayle in 1995.
Am I right when I say that this time was totally diffe-
rent to the things you do today?
Hmm, I can see a red line connecting everything. But I was
drawn to a particular kind of Detroit Funky Techno. Thus for
me I could hear it like it was Herbie Hancock on a extension of
all the things they got to know (laugh). As far as I could see it
was on the point!  I don’t see the necessary boundaries. I don’t
really see why they would call it Techno even it was made with
machines. It had this crazy groove who was funky as house. It
was Funk. Yeah it was Funk! Hard, hard Funk. So I tried to make
hard Funk with those guys, and it was great. I really think we
made amazing records.
I also wondered about the combination of your field
of studies, philosophy and physics? Aren’t these two things
very different?
runner of physics, or that kind of precise thinking. Philosophy
came first. So in this sort of context it’s not so divided. When
you look at philosophy, it’s often called history. But physics is
history too. Newton, Einstein.... In fact this was one of the re-
asons I wanted to stop doing physics because the prospect of
getting on to anything modern in physics was totally out of the
question. It was only really a question of learning the rudiments
of Newton where I had to go right back to the beginning. “Do
you know your Newton? Do you really know your Newton?” and
I said, “No, probably not.” “Ok we’ll we do it again…” The pro-
spect of studying all this boring shit was too much for me and
also the workload was intense. And, of course, I lived in a small
village for eighteen years and suddenly I was in a crazy vibrant
city with lots of drugs and a crazy nightlife and I was meeting a
lot of crazy characters: women, new friends... I just wanted to
party. So (laughing) philosophy was much more my line becau-
se I’ve always been a thinker and I had no trouble getting my
head around the concepts. But physics was really more like a
job; was really like nine to five, Monday tAo Friday and on the
weekends you had to write up your reports and I couldn’t see
any future and couldn’t see any prospect. “They wouldn’t teach
me how to think” was what I thought.... anyway...it was a long
time ago (laughing).     my musical career which expands. I am not very excited about
I am just a physics laboratory assistant. I just learned
this job because the girls and boys who work in this job always
look like clever persons. Why did you move to Berlin? Because
of the growing music scene?
No it was love! Yeah, the classic reason … It’s true I was in love
with someone and then I wanted to leave Brighton. Which beco-
mes a bit of a claustrophobic area for me and I found it creative-
ly a little bit of a problem. I couldn’t really see myself developing
so far in that environment because English are a quite cynical
bunch. They are quite cynical when you try to come out with
an idea and sometimes it’s really down on me. “Oh you try to be
a musician! Why don’t you want to do something proper? Why
are you trying to do that singing?” Everything was negative and
I thought “Fuck off!” because I tried to do something interesting
and different here and all you guys want to do is nothing! And
so I went to Berlin. Berlin was really alive and there is a crazy
energy there. I am really glad that I moved - a perfect decision.   ying a Big Band. It is like a great rush. But I didn’t quite have the
When did you move to Berlin?
In 2000, but I didn’t spend too much time in Berlin. I think this
year I’ve only been there two or three weeks.
How do you feel about the terrorist attacks in London
in the last few weeks?
Ahhh, unfortunately I feel it was clear that it will happen. I mean
everyone was waiting for it in London, after 9-11 everyone was
like “Ok London’s next!” After that was silence and there was no
action. What people forget is that the story isn’t finished. It’s get-
ting worse and in Iraq there’s a bombing every day. Now people
The Chart Issue Cuemix 05
17
are very scared to travel with public transport. So this is a very
powerful way to attack a place. It’s fucking horrible!
Do you have friends who live in London?
Yeah, yeah..sure. I have a friend who lives in the affected area.
I used to travel to Kings Cross every week. I’ve been there
hundreds of times in my life and to think about that place targe-
ted is bizarre or better said, surreal... But sadly it’s real (a bitter
laugh).
On “Multiply” you didn’t use so many effects on your
voice than on the other albums. What was the reason to work
more with your “pure” voice?
Well sure, I am 31 years old, you know. I tried to do something in
repeating myself. In fact of the title track of the album, the lyrics
“I am tired about repeating myself”. Because half the time you
can find a style and you can sit on it. You can become a success-
ful artist by that. But for me that’s not exciting. I need to learn
what I was doing wrong: why I was perhaps too cocky in the
beginning; what I had misunderstood about my voice; how to
communicate better…
Yeah it’s to step into this spotlight and feel comfortable with
myself in other ways. Perhaps more about my identity, it hap-
pened after doing stuff with Matthew Herbert; doing the big
band and stepping out on big stages around the world. Just do-
ing this simple ballad, I couldn’t do it. I did it OK, but I never
really wowed the audience. I never really made it like “Wow, this
guy is really amazing in singing!” “Oh he is not bad. He is trying
to do a ballad. He can’t really get it!” And I thought, “I have to
work hard to do that better,” because it was really an amazing
opportunity to come out with this twenty piece brass band pla-
control of my voice to really do it justice (smiliing). So I thought
now it’s the time to go back to the beginning; back to the basics
and learn how to sing again, so I did that.
But from where do you get this soulful voice, did you
train it?
Yeah I trained it, by training on a personal level. I trained it...
yeah I don’t know why.... man it’s weird you know... I don’t know
why. I don’t know why I do it.
Hmm... but I guess as a child you used to sing the
whole day!
Cuemix 05 The Chart Issue
18
JAMIE LIDELL
Ja m i e L i d e l l
„I wanted to be the best. That’s
why I did everything I did. Probably
sometimes I wanted to impress
my parents more than myself.“
Yeah, I sing a lot. SInging is like a comforting device, it was like
a comfort thing for me. You know a lot of shit happened to me
in a certain age, so I needed something to keep a consistency, to
keep a kind of inner power and I think that was singing. So I was
always really interested in singing. My mom was very encoura-
ging and I had a nice environment for singing. I was always en-
couraged it was never like, “Oh you can’t sing. You can’t do this
you can’t do that!” It was always like, “Come on, go ahead.” Even
my mom was very strict in a way. She was more like, “You can do
better, come on, you can do better!” She was never happy and
my dad was the same.
So in a way you can see how these psychological things hap-
pen. I wanted to be the best. That’s why I did everything I did.
Probably sometimes I wanted to impress my parents more than
myself. I realize these things now. The pressure they put me un-
der was immense and I think singing was free of all that - free of
all that demand. But on the other side still the pressure from my
Influences parents is always with me and I am never happy with a show. I
am never happy with an album, because I am feeling trained by
my parents to think, “It’s not bad but I could do it better!” But
sometimes I stop and think...it was nice! (laughing) But most of
the time I think “six out of ten”.
CURTIS MAYFIELD
JAMES BROWN
I also remarked that your live show is totally diffe-
MARVIN GAYE
rent to the style of your album..
Yeah very much,you are right, I wanted to create that. You must
know, the original idea for the album was a double pack - a
straight album and a live DVD. I‘ve been planning on doing that
for two years, unfortunately the record label was not so excited
UK about the idea, because it costs a lot of money, so they told me.
Now I think they are probably lying.... (whispering) I don’t think
it costs so much many.... anyway. Because you could do these dou-
ble-sided discs, it’s not so much more expensive. So anyway I am
glad we didn’t do it actually, because of a lot of technical reasons.
The Science Issue Cuemix 05
19
But that was how I designed it in my head and a lot of my fans
were disappointed, “Ah, he done a straight album! Boring!”
They missed the crazy shit which was planned for the DVD. But
there’s also a new audience I wanna reach out too. It is an au-
dience, perhaps a little bit older (smiling). It’s really nice man.
I am so happy with the way the album’s worked, because I’ve
been out of reach with my old friends I lost touch with. Friends
of mine never liked my techno stuff really, so to hear this album
is perfect for them.
On stage you do a lot of live sampling and editing
your voice and do a lot with different loops you create and
manipulate live, and besides that you sing. How do you ma-
nage all these things on stage?
Haha, it takes practice... I made the machine myself. It’s my
own software. So I write that as well. I am very interested in
computers and obviously used them a lot, so I decided a while
ago, in 2003, to make my own software. It’s a quite simple pro-
cess actually. You just make a simple loop by deciding how long
it will be. That becomes the first loop. Then you have an exten-
sion of five loops you can run simultaneously. So the first loop
is the length of the loops. It’s good to make a rider track out
of it and then you know the tempo and then you can have the
different layers afterwards. But what I found frustrating about
guitar looping pedal, where it all is based on, that you couldn’t
go backwards. You know, if you made a mistake you just had
to destroy it. You couldn’t take just a bit away. So I thought it
would be cool to create a basic rider track and you always could
go back to that.
How do you control your software?
I have three controllers: one is the main controller keyboard
which is used to record and to manipulate the mutes, retrig-
gering and internal re-looping...backwards, forwards and va-
Cuemix 05 The Chart Issue The Chart Issue Cuemix 05

20 21

Curriculum

LIDELL
JAMIE

rispeed. Then I have an MPC to reorder the time of the track
so I can jump around in time and the other one is a Kaos Pad
which is used for Midi Signals not as a effect machine, just to
Huntingdon create Midi signals. Haha, sure you can do a lot more with this
2000
September 1978 fantastic machine! The program is much more powerful than I
Mudlin Gear lay on. I don’t really use it to its full potential, because I have my
own like habits now.    Wake up with someone I love. Walk out in the nature. Swim-
How long have you worked on the Software?
Three years, that’s not long (laughing). (The next journalist en-
ters the room, so we have to finish in the next few moments)
Currently, what kind of music do you listen to?
Mad Lib. I like that guy. He’s got a good spirit; the way he creates
the music, Hip Hop with a Sun Ra twist. I like Hip Hop. Some-
times it fills a vacuum lyrically and I like the experimental na-
ture of it. I listen to a lot of old stuff like to Marvin Gaye...  
Ok, Michael’s last question: What do you need for a
perfect day?
Ahhh...eight hours sleep, is a good beginning. A sunny mor-
ning, probably with birds: I like to wake up with birds in the
morning.... and I need a breeze coming through the window.
ming in a pure minimal lake… Spend some time with animals...
I am a nature guy. Have a little drink. Being with my friends…
Make some music. Go crazy! I never had a perfect day but I
have come close to it.
... and a hot shower!
I think I have a strategy for the shower when I go to the hotel
this night. First I will turn it really hot and then I turn it cold a
bit.....     

Ja m i e L i d e l l
www.jamielidell.com

02
Vitae

WARP
Cuemix 05 The Science Issue The Science Issue Cuemix 05

22 23

SAMPLES

LOOPS
DJ
Your Debut album is
called „Migration“, is
this title connected

3000
toyour own history,
I mean the fact that, SOUL

FUNK

your parents left Albania KAOSS-PAD

and moved to the States. What‘s behind

meaning the title? I also have the feeling
caused by some title names that Migra- Detroit, USA
tion is telling kind of your personal sto- 01 02 03 04 05 06 07 08 09 10 11 12 13

ry? Some titles are in Albanian language,

right? The title of the album has personal meaning as well as anyone who
has traveled from one land to another land to better ones life or current situation
can relate to the title as well as the concept of the album. The introduction track
„Migration“ tells the beginning of the journey of having the courage and hope
and dreams of leaving one

DJ 3000
Cuemix 05 The Science Issue The Science Issue Cuemix 05

24 25
www.motechrecords.com

„Diametric will appear on my next album that I

already started on and hope to be out early to mid next
year and I also hope to produce a entire album for him
Ar Ls oInAa lSi tEi eSs where he can shine and me and and few other produ-

0
Pe
cers from Detroit can just lay down at the backdrop of
music for him to compliment his story‘s and feelings!“

DJ 3000

100
DJ 3000

Migration is an outstanding album, because of it‘s anything about Clear Channel, although people go to festi-

200
mixture of ethnic samples and the fusion between classic De- vals and shows which are in the hand of Clear Channel. What
troit Techno and a funky tempo. A real dance record, but am about the situation in the States are there still people who

Franki Pjetar Luca Juncaj

I wrong if I say the album is telling stories with each track? aren‘t aware of this subject? Do you think more artists should
Could you tell me something about the concept of the al- release tracks like yours to wake up people?
bum?
Clear Channel was a track that I made right after I played a gig

300
The Concept of the album was to show my musical influences in Germany and I was having a discussion with some Friends
from Detroit Techno to World music. I wanted to blend the two and they asked me „why is electronic music not popular in
genres of music because I love the emotional feeling of Detroit the USA ?“, I this is where I went on explaining that the ma-

Mr. Motech
music from the killer bass lines to the strings and pads and I
wanted to fuse that with the funky percussion patterns of the
Balkan sounds. These two styles together I knew would be a ma-
gical combination if done correctly and I think this album was
jor record labels and radio stations are owned and controlled
by Clear Channel so they dictate what gets played on the radio.
The same 50 songs play on the radio everyday, from Hip Hop,
R&B and Pop music, I am a fan of all the music but when you

400
just a introduction to the possibilities to what can be done and I
am only just getting started !
0 100 200 300 400 500 Thanks to Mike Banks and Gerald Mitchell because the two of
them were my teacher‘s and I was the pupil and they would talk
to me and show me the ways of how to go about it and It was
500
are programming these songs and the listener has to hear these
everyday they don‘t know anything else but what they hear on
the radio or MTV than they are being programmed ! Not eve-
ryone is so open minded in the world of music like the fans of
electronic music are and it is even worse here in the USA, when
I arrived back home after the gig I made this track the day I got

a long journey and in the end I had to find myself in the mu-
sic and this album represents me as a person and on each song
what you are truly hearing is me ! I am learning more and more
everyday and I cant wait for the next album to come out next
year because I already started working on it and I am very happy
with the direction of it.
home and it was the last track to make the album and I am so
glad I did it !
Who is Diametric who‘s doing the vocals on Migrati-
on? Maybe I am ignoramus, but I didn‘t know anything about
him... From where do you know each other?

A special track is „Clear Channel“. Could it happen Diametric is a friend of mine Steve Hosmere that i met back in
that the people of Clear Channel apply sanctions against you 1996 and we have always been cool ever since that day and he is
and your album? Here in Europe a lot off people didn‘t know a true friend. One day he had forgot a book in my car and I did
Cuemix 05 The Science Issue
26
not know it was his and when I opened the book he had all this
killer Poetry in it so I asked him „yo Steve you want to do some
vocals on a track“ and he was gladly up for it.
The first thing we did together was „Music From Chaos“ on Mo-
tech-003 and all I did was played some pads and he wrote this
killer poem ! So fast forward to the present and when I did the
concept for Migration I told Steve I needed a intro and out for
the album. The only thing I told him was to Tell a story about mi-
gration for the intro and that the outro tell the story of how you
made it ! If you listen to the intro and outro carefully it leaves it
open that even though you are heading to your destination you
dont know what is there and even though you may have made it
there does not mean you are safe and that you actually made it.
Still a tough road ahead but just have tom stay strong no matter
what...
Diametric will appear on my next album that I already started
on and hope to be out early to mid next year and I also hope
to produce a entire album for him where he can shine and me
and and few other producers from Detroit can just lay down the
backdrop of music for him to compliment his story‘s and fee-
lings!
I know that I need new glasses, but on the cover of Mi-
gration are characters I can‘t read. They are placed under your
picture. Is it a special language?
The words you see there is text that is back words and upside
down and scrambled enough to leave you thinking to what it
says just like the sound of the Album. You can see and hear the
ethnic influences in the music from Middle Eastern to Albanian
to Indian to the entire Balkans but you just can put your finger
on it to one specific region or instrument or sound and that is
the same with the words on the cover.
What about the producing process of Migration.
When have you started to produce the tracks for this album?
Which kind of gear do you use to produce tracks...more soft-
ware based or also hardware?
The process started just after the release of Motech #7 and just
after I finished my fourth Mix CD for Submerge „Perseverance“.
Ade Mainor from Submerge Recordings suggested to me that
now would be a good time to do a album considering I did 4 mix
cds and I was djing outside the country on a regular basis and
after seven records of my own label and tracks for UR and many
remixes that we felt it was the next logical step for me. I was very
ready to do this album because I wanted to express myself and
The Science Issue Cuemix 05
27
show that I can make more than just dance floor tracks and I am
very proud of this album because it did show many sides to my
production capabilities.
Fra n k Ju n c a j
Four or five tracks are from some of my previous 12inches and
SAMPLES
LOOPS
LOOPS
the remaining tracks are all new production that I finished pro-
ducing this past fall. I don‘t really have a process other than I
wanted to put mixer of DJ friendly tracks and listenable tracks
too in a way that the entire album can be put into your car of
0
heart set and you can vibe of the whole album. I did however
make sure the placement of each track had a nice flow to it that
you can listen to the album beginning to end and enjoy it.
Each song on the album comes from a special place or memory
or what I was feeling that day, for example the track Long Street
100
is the name of the street were my late aunt use to live and I use
to play there as a kid. One day I was trying to make a track and
nothing was coming to me and as I was thinking about the great
times I use to have as a kid playing at my aunts house and this
04
track represents her.
200
The finger snaps to the sounds of the song is very innocent and
dreamy and it sounds like a kid walking down the street snap-
ping his fingers and wondering off like daydreaming.
The type gear I use to make tracks is always a tough question
because either you have the producers you don‘t mind telling
300
you what they use because it no secret and than you have the
other producers that don‘t like to tell anyone because they like
to keep it a mystery or maybe not give up the info so people
don‘t copy them. For me I wont mention exactly what I use but I
will say this, I use mostly hardware gear in my studio but I have
Incorporated the computer to my studio that has helped my fi-
400
nished production move faster and lets just say that.
CM>>>When you finished some tracks during the production
process do you also tested them during a DJ set? Which people
do you ask to listen and criticize your tracks during the pro-
duction phase?
500
I do test the dance floor tracks sometimes in my sets when I can
or I give them to some of the other UR DJ‘s to test out but mostly
if I don‘t think its funky and if I would not even play it myself
and if its not even moving me in the studio I would not even
continue finishing the track. 0 100 200 300 400 500
Most of my music before I finish it or after I finish it I play it
to Gerald Mitchell because that fucking guy knows whats up !
Hands down his ear is one of the best out there and he knows
DJ 3000
Cuemix 05 The Science Issue The Science Issue Cuemix 05

28 29

ling that people always like to analyze new records and forget
to have fun by listening and dance to the records. How is the
situation ore better say the reaction in the States? DJ 3000 DJ 3000
The USA dont have a clue about electronic music and www.motechrecords.com
overseas they do but they tend to dissect music too much and 0 100 200 300 400 500
that needs to stop. You can give your opinion on someones pro-
LOOPS
duction and either like it or don‘t like it but in the end its just
music.. You cant really say anything more than a opinion on a
song because one person made a song is his basement and only
him and god knows what he was feeling when he made that BEATS
song so the best thing to do that I have learned to do myself it
just say „its not my thing“ and move on. I think that we need to
just listen to music with a open ear and if you think its funky
than its funky, if you would buy it, buy it, if you don‘t than don‘t
why have fucking debate about it ?

You toured to several countries since the release of

0 100 200 300 400 500
Migration, in which country you received the best reactions of
the audience? CUTS

I would have to say Croatia because they just like to hear good
music and they go fucking nuts when you drop some hot ass
track ! They just love to party and have a good time and in the
end of the day good music does not lie, when its good its good
you feel it, cant fake the funk ! I played a Fabric too in London
for the first time and I have to say that was as good party too on
a different scale because that party was big as hell but the crowd
was very responsive. Croatia was good because it was only 200-
300 people but every fucking person was dancing have a great
time and sweating and enjoyed all genres of music I played from
Electro, techno, hard to tech shit !
You also played during your tour a session at BBC Ra-
dio. The most important radio station here in Europe. Do you
felt a little bit nervous before doing that show? What about the
different situation compared doing a show in front of an audi-
ence?
They have me back because I had such a great time. They ac-
tually had a live audience in the studio and that made it a bit
easier because that made it feel more like a party atmosphere
and I have to say I was a bit nervous because BBC is huge but I
always rise to the challenge.
I grew up playing allot of sports and basketball is may game and
I played my entire life and I played in College too so stepping
up to a challenge is nothing new to me. I always play the same
if there is a audience or not, and just like my mix cds I do for
Submerge live and non rehearsed because that way you get that
raw and spontaneous feeling just like at a club or party and you
can hear that shit in a mix.
I know most artists hate this question... but could you
tell me something about your first steps into music, which ar-
tists and DJs influenced you? When have you started to work
as a DJ? I also read that DJ Bone supported you in the begin-
ning? Do still have contact with him?
I would have to say I started djing later than most people, I did
not buy my first turntables until 1996 or 1997. There was a point
after hearing all the tunes I liked and all my friends and DJ tel-
ling me that you can only get them on vinyl that I had to break
down and buy some turntables just to play the tunes.
Many of my friends DJ so i would go to the club or party‘s and
I would watch them DJ and think to myself „wow I think I can
do that too“ so I went out and bought a pair off my friend that
needed money and sold me his very cheap „thanks Jeff“ !So af-
R E L E A S E D AT E : J U N E 2 0 0 6
L ABEL: MOTECH
ter much practice practice practice I got a chance to play at a
Club called Motor opening up for DJ Bone, he is a good friend
of mine and he use to play there every week and one night he
needed a opening DJ and he asked me to play and of course
I jumped at the chance. I was scared to death to play and of
course I played really bad and did not know what the fuck I was
doing and lucky for me I made it out of there alive. That was a
wake up call for me because I was thinking it would be just like
playing at home and it was not that easy so from that point on
I practiced everyday until I could play well in a club and not
make a fool out myself.
I would get gigs around the city at cafes or small clubs or loung-
es but it was really two places where I learned how to play and
that was Motor with DJ Bone and place called Lush and both
places were located in Hamtramck and just down the street
from one another and me and DJ Bone use to do a Thursday
night together and it was killer. These two places is where I lear-
ned and honed my styling of djing and to play how you want to
play with no rules ! I think the key to djing is don‘t be scared to
play something or how to play it, if you like the record drop that
muthafucka and move on to the next one !
My Friend Jay Langa is a good friend of me and Bone and I
would always go to his house to practice and he would should
me the right and wrong way to DJ and he would actually show
me and teach me. Bone was more like trial by fire just get out
there and do it and if you fuck up who give a shit just keep going
and rock that shit. Between the two of them is how I think I got
my style of how to play the records because anyone can DJ but
not everyone can rock a party or be afraid to play some risky
shit and take chances.
How do you get in touch with the people of Under-
ground Resistance/Submerge? Does it sound to pathetic
when I compare these people with a big family?
I was actually introduced to Mike Banks back in 1996 from my
friend DJ Bone, he use to go the the Submerge S.I.D store to
buy records and get promos and back than it was very very dif-
Cuemix 05 The Science Issue
30
www.motechrecords.com
„BBC was fucking dope!
I cant wait for them to have
me back because I had such
a great time.„
DJ 3000
to get in and if you did not know Mike personally you were not
getting in ! Well after meeting Mike I use to go to Submerge and
buy records when i was first djing because I figure I would go to
the source and buy all the records I liked and they always had
exclusive stuff too and that was always great. Me and Mike be-
came friends and short time later I made a mix CD and gave it to
mike one day and he took the Cd‘s and passed them around and
he posted the mix on the Submerge site and it was also aired
on some radio show in London or Laurent Garniers Show and
Mike was getting allot of feedback and one day Mike said „Yo
Franki you need to make a mix CD for us - but you need a DJ
name?“ because at the time i did not have one. So the next day I
went and mixed „Somewhere in Detroit Vol.1“ and the day after
I had given them the CD Mike Banks and Ade Mainor from Elec-
trofunk Records say „we got you DJ name - DJ 3000“. They had
to explain to me because I did not know why they chosen this
name, so basically the Submerge/UR Headquarters address is
3000 and this was the new location and new direction and futu-
re for the company and at the same time we were releasing UR
- Transition, and Los Hermanos - Birth of 3000 and my Mix CD.
So the DJ 3000 name was a DJ and name that can represent
the entire Submerge sound and its labels and that was a heavy
responsibility to carry because that is some huge shoes to wear
! The first thing Mike said to me after giving me the same is „you
better be ready for this because this serious shit“ and now I have
done 4 mix Cd‘s for submerge and 8 records on my own Mo-
tech label and 2 projects on Underground Resistance and eve-
rything has been fuckin great ever since, Thanks Bone for the
Introduction !!!Submerge and UR is a Family for sure ! It is like
your big brother that you love and hate at the same time. You
get into fights and you agree and disagree and in the end when
you need anything they are always there for you in the end no
matter what. I own everything musically in my life to that family
because without them I would not be where I am today and I
will never forget that.
You also founded your own label called Motech...
What was the reason to found a own label? Can you tell me so-
mething about the concept behind the labels motto „We speak
your language“?
I was raised in such a diverse are of Detroit „Hamtramck“ and
the area is heavily populated by Polish, African American,
Middle Eastern and Indian and Albanians that this opened me
up to music that I would have never heard before if it was not
for knowing these different cultures and having friends of the-
se cultures. There is something about the Albanian and Middle
Eastern music I found so Timeless and Emotional that draws
me to it and also so memorable too and the Detroit Electronic
sound is also the same way and that is what makes these genres
so special. As I started making music just a few years ago I did
was most producers do and start making the type of sound that
influenced them and me being from Detroit I wanted to make
Detroit Techno just like the producers that I admired like, Mike
Banks and UR, Carl Craig to the 430 west guys and Transmat
stuff. So my first two records were Techno-Electro tracks that
were a bit dark and i guess traditional Detroit Sound and it was
not until my third record that I started the fusion of me cul-
I would say that the sound that I am doing can fall withing the
spectrum of a new form of world music of course and I hope
this will cross over to world music listeners and open them up
to not only Detroit Electronic music but other forms of Electro-
nic music that falls close to the Detroit classification of sound.
I love the world music genre and I do listen and buy allot of it
too, I really like such labels like Crammed and Bar De Lune be-
cause these two labels do some killer stuff and take chances too
and the label Six Degrees always does quality music too. These
labels are a key examples of world music but you can also here
the club influences in the production and I think that is key be-
cause it shows that they are not afraid to take a chance and that
is exactly what I am bout „No Fucking Rules, Anything Goes -
Just make Some Hot Shit !“. This is why I respect Underground
Resistance so much because they always have done never what
was in style or trend but pushed boundaries and genres and
that is why I am where I am today and continue to produce for
them because in the end they just represent good music and
they could easily fall in to world music too, not all there projects
but there is some if you go back and listen back to the tracks.
I think once you become stuck in a classification of style so-
metimes that is boring and that is not what i want to do. I want
my sound to translate into Detroitish sounding but also hea-
vily World Music sounding at the same time, I want people to
hear this and think „well he sounds like Detroit sound but it also
sounds World“, I want my sound to fall between both genres and
in the end both listeners will be interested and also be surpri-
sed at the same time to the sounds in each song and styles too.
The direction of world music has a very bright future and I think
with the things I am doing and the and labels like the ones I had
mentioned that this will be the future of world and electronic
too. We speak your language is Motechs moto that we make all
styles of electronic music with world influences, Indian, Middl
Eastern, Turkish, ect.. just trying to rep electronic music from all
areas of the world but with a Detroit Sound too. We don‘t stick
to just dance floor tracks but also down tempo and broken beat
to hip hop inspired beats and in the end just good music that
any generation can listen to and appreciate it.
Besides your work as a producer, label owner and DJ
you also work as the sales manager of Submerge. How do you
bring all these things together?
01 02 03 04 05 06 07 08 09 10 11 12 13
The Science Issue Cuemix 05
31
I have to say it was tough because working a 9-5 job as sales
manager for submerge and also trying to do music and also
running the label leaves me no time for anything else but I
would not trade it for the world, I have learned so much as sub-
merge and without them I would not have learned the busi-
ness or how to even make music without them. My position at
Submerge I have learned so much valuable knowledge that if I
could bottle it up and sell it I would !
You have to be dedicated and just stay focused on the things
at hand, I take my job serious and my job comes first and than
after the job is over I go home and make music. I try to make
music on the weekends because that is the one time I can wake
up and have a clear head and make music all day long and just
enjoy myself. Nowadays my days at Submerge are much slower
because I am DJing so much and working on so much music
that I have to spend more time at home on the music.
I am praying that one day I can just make music an DJ for a li-
ving and I am striving to make that happen so for now I will just
continue to work hard on both ends and release good product.
Due to your job as a sales manager, and label owner,
your feelings about the future of „Dance music“? Do you think
that more people will wake up and realize that they can‘t con-
sume music like fast food? I mean that music has more mea-
ning that just being a file amongst hundreds on mp3 stick...
Dance music is in a funny state right now, allot of people are
making the same sounding music and every few years some-
one will come along with a new sound or style that will break
through and shed new light on this genre of music. People Like
Jimmy Edgar and Jaime Liddel and the guys at Warp and Sub-
merge are good for doing just that. They are not afraid to just
do what they feel and like and they stay away from trends and
that is what is needed more from other labels to make dance
music a respected genre and run along side the hip hop and
r&b and pop artist.
I think people who buy music need to do a bit more work and
research and seek out artist and styles and labels they may have
not heard of in order to get some fresh music. From distributi-
on to most people buy what sells and dont try to push other
Cuemix 05 The Science Issue
32
Fra n k Ju n c a j
artist or sounds unless they can sell big numbers and in the end
the consumers suffers because they can only buy what they see
on Itunes or at there local Media store and that is sad to me.
For example you got a station like BBC Radio 1and the reason
why most of the shows exist and the jocks work those shows is
because they are the kind of DJs or music buyers that are for-
warding thinking and have great taste in music so in turn they
turns more people on to hot new music and they is few and far
between. Those are the types of cats that work at some of the
best stores too and if you think about it they is always one cat in
a store that fucking knows all the hot shit because he loves that
shit „finding new hot shit and being ahead of the game“.
SO if you think about it now form the consumers end of things
there is not that many people like that out there and the ones
that are out they are doing the BBC, radio, music stores, DJ jobs.
The regular consumer wont be in that much effort because they
have other shit going on in their lives to worry about that some
fucking song so in the end they only know whats on the shitty
radio and MTV.
What about the situation of Techno in Detroit, are
there still parties? Do people pay more attention to it than in
the last years?
Detroit techno is in a strange state to me right now because
today‘s Detroit Techno is not the same as Detroit Techno 10
years ago, what is Detroit Techno today ? 10 years ago you had
so many producers making so much hot shit from UR, Planet E,
The Science Issue Cuemix 05
33
Moodymann, Theo, KMS and on and on, that when you walked
into a Detroit record store you knew you could find some new
hot shit and be so surprised by what you would here because
nobody sounded the same but at the same time you would hear
some innovative hot shit ! Now because of tough times from
drugs to jail and financial problems many of the producers Fra n k Ju n c a j
had to seek regular 9-5 jobs to take care of themselves and their
family‘s so many of the producers are not in the game anymo-
re.
Toady‘s Detroit Techno Flag is only being carried by a few camps
anymore like UR, Carl Craig, KDJ and Theo Parrish and Ghost-
500
ly being the new school label developed their own distinctive
sound, and there is not a great deal of new producers coming
up anymore because there is not enough clubs or events in the
ciy to hear this music. You can go out and hear house music at
least three days a week but Techno party‘s is few and far bet-
ween hear and really the one time you do hear it is during the
400
DEMF and that is not enough.
Lucky for me I caught the Detroit Techno bug early on in my
life and I have been hooked since but after my generation it has
falling off dramatically and there is not many techno producers
anymore.
300
Migration... a lot of people left Detroit in the last
years, ever thought about leaving the town or maybe the
States?
In the past I never really thought about it because Detroit is all
200
I ever known, I have visited allot of cities but never lived any-
where else but here in the Detroit Are. Thanks to Submerge and
UR I was able to travel around the world DJing and experience
things I only have learned in school or seen on TV and because
of that it has opened my eyes to allot of thoughts and ideas that
I may consider. This past year has been a very productive year
100
for me and I have learned allot about the music business from
both sides as a producer and also being the Sales Manager for
Submerge Distribution for the last 6 years and the music game 100 200 300 400 500
has changed and it is more and more difficult to compete from
the USA and sell product into the overseas market without have
a exclusive deal with someone or doing a album for a overseas
label or licensing deal. All this makes it harder and harder to
conduct business from the USA that in the end yes I would con- DJ 3000
sider moving overseas when the best opportunity presents its-
elf, right city, right country at the right time.
USA is not a easy place to live when it comes to the www.motechrecords.com
music we do you have to look at it like a job, if there is a bet-
Cuemix 05 The Science Issue
34
Detroit
3000
DJ 3000
job out of town or state or out of the country and it will better
my situation and if I am happy in the end and I can continue
doing what I love than I am all for it!
Albania is the former homeland of your parents. Do
you still have relatives there? Ever thought about playing a gig
there?
My family is actually from Montenegro the former Yugoslavia
and one time decedents of Albania yes. I still have cousins living
in Montenegro and I have not had the chance to visit yet becau-
se with my busy schedule nowadays it makes it very hard to find
0 100 200 300 400 500 time. The next time my mom and dad decide to go I would love
to go with them because that way they can show me around the
area and introduce me to relatives and people I have not met
before and that way they the experience will be that much more
meaningful. My relatives still live in the same village „Drume“
where my family grew up and they are still farmers living off the
land just like my family did for over 200-300 years.
0 100 200 300 400 500
DJ 3000
www.discogs.com/artist/DJ+300
USA
The Chart
Science
Issue
Issue Cuemix 05
35
As far as Albania goes I just played in Tiranna, Albania and it
was one of the best experiences of my life ! The people there
treated me like family and open arms and it was so nice and I
cant wait to go back. My mission is to play to as many Balkan
people as possible to show them not only the type of music I
produce but also the wide range of music that I DJ and maybe
this will inspire others to do the same.
What do you need for a perfect day?
For a perfect day would be a nice warm sunny day near some
water like the ocean or a lake with friends and family just
laughing and having a good time and eating good food with
some drinks. There is nothing better for me than with friends,
family, food and drinks and good weather what else can you
ask for ? I am a simple person who likes simple things in life,
as long as I can take care of my bills and have good friends
and good health and I can still make music well than I am a
happy guy.
 37
Cuemix 05

Popxplosion
The Science Issue

The Unrelenting Songs Of The 1979

Post Disco Crash
Big Outragious Sound Club
Steppin Off
Shamelessly Exciting”
F rrest
Jason
N e w Yo r k
Berlin

06
JF
Steppin Off
Steppin Off
The Chart Issue

Big Outragious Sound Club

Cuemix 05

36
Cuemix 05 The Science Issue
38
Shamelessly Exciting”
Steppin Off
Jason Forrest
aka Donna Summer
Jason I was I little bit confused when I read in some
press text, that you‘ve started with music in 2001?
Well I started when I was a kid, but I was really bad. My back-
ground in the art world is my degree in photography and I
worked as a contemporary artist for about ten years. You know
I moved to New York City to make it as an artist - not to be a
musician. And I just didn’t have any money so I started making
music (laughing) and I got better quickly (laughing).
Is there any artistic background in your family?
No! My family is like the most suburban you could be they are
like... you know I love my family I really do, but at the same time
they are very, very like middle America, „Let‘s fit in.“ - you know,
no creativity, no ambition. I mean ambition like real ambition.
You know like, basically the motto of my family was like, „Have
everybody like you and fit in“ (laughing). So when I started do-
ing artwork as a teenager they just did not understand it and
when I got off from the football team and things like this they
just did not understand like, „You don‘t play soccer anymore
what are you doing?“ „I am trying to write poetry. I am trying to
make music!“ And they said, „What the fuck is this?“ They just
didn‘t understand. When I went to art school they really didn‘t
understand and my father was completely unhelpful and my
mum tried to be support of, come to the openings things like
that and my dad was like „Fuck that get a job!“ But the things
UK
Big Outragious Sound Club
Post Disco Crash
The Unrelenting Songs Of The 1979
Popxplosion
that‘s really funny is that when I switched to be a musician my
dad instantly got really into it and he said, „Ah! That‘s really
cool!“ and he became a real fan.
He‘s driving around and sings to my music! No joke (laughing)!
And my mom was just like, „Fuck it! Get job.“ You know I went
to Moscow once and Japan and all these places and I come back
and I was like „Mom! Moscow“ and she was like „Yes that‘s nice
dear, what‘s next....“ you know like, no interest. Now I that I’m
making it more into magazines in the US she is more interested
- like proving my worth or something (smiling).
Are you doing something artistic like writing critics
or taking photographs besides being a musician?
Oh I mean kind of I was actually involved in a show in Leuven
in a museum with photographs and I always take pictures when
I am on tour - like this here with the dogs (he shows some pic-
tures on his digital camera).
When I see the dogs, on WMFU Radio website, I saw
your set-list with all these pics (Jason starts laughing) and one
picture there is this little cat jumping.
Yeah the kitten is really cute isn‘t it? (laughs)
Did you take this photograph?
No I didn‘t take it. I stole it from some online thing. But it‘s re-
ally funny because six moths later I found somebody taken the
image from my website and they had drawn little bad guys like
little bad monsters chasing the kitten, like remixing the picture.
Crazy!
You made a statement, „I hope through my music
more people will listen to ELO an Supertramp“. Is this state-
ment serious?  But TIME was the last album I bought. It was really a
Yeah, for sure!  I find it really funny this particular question be-
cause I am amazed that people will think that I am being iro-
nic. It‘s really good music and it‘s just a phase that they are not
liked at the moment or rather when I first started really pushing
Supertramp and ELO they were really hated. All the hipsters
hated them and after a big VW commercial and a Spike Jones
movie theme with ELO and then it began to become cool again.
It hadn‘t to do with me but all the people were like, „Oh yeah I
got all the ELO records!“
Do you listen to these style of music when you were a
kid?
Yes, that‘s what happened when I kind of started making music
and doing sampling I ... no let‘s say it in another way.... when I
started making music I already had this kind of art background.
So instead of getting a record and sampling it, I was like, „Oh
that‘s just a good beat.“ I was already thinking about it in terms
kind of conceptional terms, because this is what I had been do-
ing for the past ten years over thinking everything, you know.
So I realized very quickly that sampling was very much like a
preparation in the art world and when you sample something it
had a meaning and a context around it and so the things found
really interesting for me were the music I heard when I was a
kid. Supertramp was one of the first cassettes I ever bought by
my father (laughing). But ELO I got in later, I didn‘t listen to ELO
as a kid, I mean I knew the songs, but then I really got into it like
exploring their whole career was later....
I have all ELO records even the first ones, but the
worst was Xanadu...
Twist a knife - the problem with this soundtrack is that is half
ELO and half another guy and the other guy is shit. But the
theme song for Xanadu and „I am alive“ (Jason starts singing
„I am alive“) ....
Okay but I am more in love with “A New World Re-
cord”, “Face the Music” and “Eldorado”. Hmm, “On the Third
The Science Issue Cuemix 05
39
Day” was great „In the hall of the mountain king“ but to be
honest the first one I bought was Discovery 1979 I think when
I was ten and I think my family hated me for that because I
was listening to this record the whole long day (Jason begins
laughing)
But about Xanadu have you seen the movie? Unbelievable...
mess.
Yeah “Time” has (laughing) some good songs, but it‘s not a
good album. and “Secret Messages” is completely shit.
Also did you ever listen to the Albums “ELO” and
“ELOII” together with Roy Wood?
Yes, with the weird strings - a little bit like the Eleanor Rigby
thing from the Beatles… But have you ever heard Roy Woods
Band? Really cool!
You mean The Move or the band he founded when
he left ELO? Just listened to The Move ... Ok, let‘s jump to your
new album “Shamelessly Exciting” - “My Favorite 36 Punk
Songs” leaves no question- you also joined this scene in your
youth?
Yeah, for sure I was a big skateboarder, a straight edge skate-
boarder listening to all this straight edge punk stuff. Minor
Threat, 7Seconds, Bad Brains, Black Flag ... yeah what hap-
pened I was at a party last year and somebody had a mix, you
know one of these iTunes things, and a song of Minor Threat
came up and I said „Oh my god!“ and I realized every note, eve-
ry word, everything.
It‘s still so powerful today - Bad Brains especially. It‘s the top! It
has so much power and it means so much to me. So when I did
„My Favorite 36 Punksongs“ I started with this Minor Threat
Song just making a song based on a Minor Threat Song, and
then I just got started getting more and more, and I was like all
these songs are great and I had the idea that I wanted to make
a new punk song out of all the old punk songs. But not just ma-
king a medley more constructed like a punk song(laughing).
If you wouldn‘t named it like that some people
wouldn’t notice that you‘ve sampled your favorite songs, be-
cause it sounds nearly like your own new song.
Yeah, some kids don‘t know…
Cuemix 05 The Science Issue
40
Ja s o n Fo r re s t
RELEASES
www.jasonforrest.com
JASON FORREST
DONNA SUMMER
I also didn‘t find out which groups or songs are  be-
hind each sample.
Ha it‘s funny because there‘s a contest now and people are get-
ting crazy for it „What is this? I don‘t know!“ And I thought I
would be doing a contest myself but then somebody else did it.
Yeah, they never get it, because it‘s cut so hard. There‘s so many
things like The Ramones just singing „Hey“. That‘s it! And it‘s
not from Gabba Gabba. “Hey” it‘s from Sheila is a Punkrocker.
There‘s so much inside this song but I let them try to find out
which songs and parts I‘ve used (laughing)
Must be a lot of work cutting this song, how long did
you worked on it?
Huh I can‘t tell you. I mean that‘s the thing with the songs on
this album. I was obsessed about so much. I mean, I really wor-
ked on all of these ten songs for a year and a half. Really trying to
get everything right and have everything make sense and have
sort of meaning and presence and direction... and reason for
being there. But the song 36 Punksongs took me a long time but
I found out that the guitar sounds they used was pretty much
the same and that helped to build a new melody out of it.
And on the other side you have „Nightclothes And
Headphones“. This is a real pop song...
Yeah, it is a pop song (laughing)
When you produced this song didn‘t have any fear
that people won’t understand this song? I mean people call
you the King of Breakcore.
From Broklyn to Sonig Well I know that there are some people that don‘t like it and I
definitely heard from some Breakcore people, „I don‘t like this
2002 - 2005
The Science Issue Cuemix 05
41
record and what you are now doing,” But that‘s ok with me. But
the problem is that I’m not really so interested in just... I should
make music that everybody could like. I try to make it friendly
and open to more than one type of person. ‘Cause this is one
thing I was really bothered in the art world. You only had some-
thing for just one type of person. If you did something slightly
different, you have very niche market. These are the only peo-
ple you could talk to. Somebody who doesn‘t know all these
references - they can‘t have any feedback about it.  With the
music, I mean I have this Breakcore audience and I mean that‘s
cool. But at the same time I listen to a lot of Rock music and
to a lot of Pop music and everything... also to Country. Really
scary! I don‘t really feel I need to make music in only one way.
I mean the last record - one half was more Disco songs. So this
is not really Breakcore - more some kind of Disco hybrid. So it‘s
not so important for me to do one thing. But the track Nightclo-
thes and Headphones was really important. It‘s one of the best
things I‘ve made and I am really super proud about it still.      
What happened was I was half through the new album and I
really wanted a slower and a really warm track on it.  Like ha-
ving your mum putting you on a blanket (laughing).  As Peel
died I emailed Laura Cantrell who is also a DJ at WMFU in New
York. I mean she is a real country singer. She is quite famous in
the US right now. You must know that Laura was John‘s favorite
female singer of all time and she did a bunch of Peel sessions
and she also knew his family and knew John‘s wife. She was
really like a part of the family. So when John died I asked Laura
Cantrell because no one could do it better and also no one ex-
pected a collaboration between Laura and Jason Forest. She is a
super nice person and she was finishing her new album on Ma-
tador and was working together with Calexico - really not small
groups (laughing). So when I asked her for that song, she said,
“It‘s such a bizarre request. If anyone else would have asked me
I would say „no“ because I am too busy at the moment. But it‘s
so weird that I must do it.”
Cuemix 05 The Chart Issue The Chart Issue Cuemix 05

42 43

Johannes

Heil Bad Nauheim

DEUTSCHLAND

0 100 200 300 400 500 0 100 200 300 400 500

Seine musikalische Karriere beginnt in dem Bad Nauhei-

Johannes Heil (* 3. Februar 1978) ist ein deutscher Produzent
mer Technobistro „Kanzleramt“, welches zu jener Zeit
und Live-Act im Bereich der elektronischen Musik.
Heiko Laux gehörte. Er veröffentlichte seit 1995 auf diesem
Label verschiedene Produktionen, unter anderem seine
erste Debutsingle „Die Offenbarung“. Mit Heiko Laux ar-
KANZLERAMT
1985 -2007

beitete er anfangs unter dem Pseudonym „Item One“ und

veröffentlichte ebenfalls auf Kanzleramt Records einige KOBAYASHI VERÖFFENTLICHUNGEN
LPs. Weitere 12“ folgten auf Labels wie Uturn, Creation
UTURN, CREATION
Rebel, Kobayashi und Fieber. Kommerziell erfolgreich (im REBEL
Sinne von Musikvideos auf den unterschiedlichen Musik-
kanälen) wurde Heil zuletzt mit der Singleauskopplung KOBAYASHI UND FIEBER
„Dein Schweiß“ aus Sven Väths Album „Contact“. Dank
einiger Produktionen mit dem aus den USA stammenden
„DJ Slip“ hat er auch dort seine Duftnote hinterlassen. KANZLERAMT
FIEBER CREATION REBEL KLANGELEKTRONIK
Cuemix 05 The Chart Issue
44
UTURN CREATION REBEL
KANZLERAMT
Auf „Freaks R us“ haben alle Tracks nahezu eine Dau-
er von 7 Minuten. Zufall oder Absicht?
Ganz klar, siebtes Album! Die Sieben war auch der unterschwel-
lige Aufhänger, eigentlich sollten alle Tracks genau sieben Mi-
nuten haben, dies ließ technisch nicht ganz machen, also war
der Kompromiss tendenziell die Sieben erkennen zu lassen. Die
Sieben hat aber auch in Bezug auf die Musik eine große Bedeu-
tung, weil Dur- und Moll- Akkorde insgesamt aus sieben Halb-
tönen bestehen, im Verhältnis 4 zu 3 oder 3 zu 4. Sieben ist eben
auch die Zahl der Harmonie, der Liebe. Für viele ist die Sieben
auch eine absolute Glückszahl, es gibt sehr viele Analogien die
mit der Sieben zu tun haben: sieben Weltwunder, ....und, und,
und. Ich hab da mal so eine Liste geführt, und auf Anhieb etwa
zwanzig Übereinstimmungen gefunden, ohne groß danach zu
suchen.  Auswahl der Klänge, der Rhythmen und der Melodien. Ich habe
Musstest du dich beim schreiben und produzieren
nicht auch unheimlich anstrengen um dieser selbst aufer-
legten sieben Minuten Grenze, oder besser dieser Zeichen-
sprache genüge zu leisten? Versteh mich nicht falsch, muss-
test du schneiden oder strecken?
Es ist bei zwei Tracks genau so raus gekommen, bei Anderen
habe ich diese sieben Minuten einfach bis zum Ende offen ge-
lassen. Ich hab mir dann gesagt: “Ok, wenn ich das Arrange-
ment, das Finish und den Cut mache, lege ich da den Wert von
sieben Minuten noch drauf“. Aber in diesem Sinne, ist mal ge-
kürzt und auch gestreckt worden. Wobei es zuvor keine feste
Zeit gab. Zwei Tracks „The Magican and the Fool“ waren schon
released, diese wurden dann später umeditiert. Aber letztend-
lich bis zu dem Punkt an dem ich gesagt habe, jetzt ist es gebo-
ren, die Schöpfung unbesiegt, sozusagen. (lacht)
Weiterhin ist mir aufgefallen, dass der Neunte Track  du ein Clubmensch, Partyanimal...whatever?
„The Last“ und der Zehnte „The First“ ist, das Album eröffnet
aber dann mit dem Titeltrack? Totale Verwirrung...
(lacht) Unsere Überlegung war, hätten wir „The First“ als erstes
genommen, hätten wir den Song zu einem Intro degradiert. Das
Lied ist viel zu schön und zu eigenständig, und außerdem “Für
ein Intro zu lang und zu schade.“ Dann gab es in der Diskussi-
on auch den Satz “Die Ersten werden die Letzten sein und die
Letzten werden die Ersten sein“ und dann dachte ich mir “Ok,
dann kann man den Ersten auf den Letzten setzen. Da beginnt
es dann quasi neu, das Abklingen des Albums ist dann so, eine
Überleitung in etwas Neuem. In dem Fall, ist es die Überleitung
zurück in die Realität. Die CD ist vorbei, du hast Clubtracks, die
ganzen Momente erlebt, um am Ende noch einmal Revue pas-
sieren zu lassen. Diese Gefühle erzeugt es zumindest bei mir,
wenn ich mir dieses Lied anhöre, kann ich aus dem Fenster
schauen und über vergangene Zeiten leicht wehmütig in Erin-
nerungen schwelgen. Das steckt dahinter.
 
Die am schwierigsten zu formulierende Frage für
mich ist: Ich krieg manches bei Dir nicht übereinander, die
Musik ist zum großen Teil “Club“...
Ja.
....wie bekommt man in Club- und Dancetracks so
viel Tiefe und Gefühle? Trotzdem ist es nun mal Club!
Mein Anspruch ist es, mir selbst gerecht zu werden, was erst
einmal sehr schwierig ist. Ich bin schon sehr wählerisch bei der
ich schon sehr vieles gemacht, habe mir dadurch auch schon
vieles bewiesen. Ich versuche  mich selbst zu überraschen, das
ist natürlich auch ein Grund, viel zu experimentieren. Dabei
geschehen Dinge die ich so nicht hindrehen würde. Bei der
Vielschichtigkeit und der Tiefe, würde ich sagen „das bin ich,“ 
ganz klar. Clubmusik ist das was ich mache, und diese Tiefe ist
was ich bin. Also verbinde ich dieses was ich bin, mit dem was
ich tue, und das ist dann das Ergebnis. Zufrieden bin ich damit,
wenn das für mich eine eigene Lebendigkeit in sich selbst hat,
eine Vielschichtigkeit existiert, die so miteinander wirkt, das
ich das dann nicht mehr nachvollziehen kann, das lebt dann
vor sich hin, für sich selbst. Das ist mir auch so am wichtigsten
(schweigt).
 Es muss mir etwas sagen. Ich muss das Gefühl haben das
spricht mit mir, wenn es mit mir spricht, hat es die Chance in
meiner Sprache auch mit Anderen zu sprechen.    Du benutzt deinen Familiennamen keinen Künst-
Eine deiner Veröffentlichungen hieß „Feiern,“ bist
Ich bin über das Feiern zur Musik gekommen, oder sagen wir
mal zeitgleich. Ich würde schon sagen, dass ich ein ziemliches
Partytier gewesen bin, und auch sehr exzessiv. Dadurch, dass
ich fast jedes Wochenende Gigs spiele, viel im Studio bin, ge-
nieße ich jetzt auch die ruhigeren Momente und leg es nicht
immer auf „die exzessiven Feste „ (lacht) an. Da ist vielleicht mit
ein paar Freunden ein Bier trinken.
Aber die Zeremonie des Ausrastens ist mir total wichtig, und
möchte das auch als eine Priorität in meinem Leben bezeich-
nen. Es stellt sich mir nicht die Frage was die Musik erreichen
soll, im Gedanken bin ich immer auf der Tanzfläche und ver-
suche mich da mit einzubringen, wie pass ich in das ganze Bild.
Wenn ich auf Raves gespielt habe, hatte ich viele Momente wo
ich mich fragte “Wie passe ich hier eigentlich rein? Wo ist die
Schnittmenge? Die Kompatibilität?“ Ich bin auch oft verwun-
dert, dass sich die einzelnen Stücke sehr voneinander unter-
scheiden. Aber eingefleischte Fans beschreiben mir meine
Musik als etwas emotionaler und als etwas eigenes. Ich kenne
viele Leute die mögen gar kein Techno, aber die Clubmusik un-
bedingt. Die reisen innerhalb Spaniens 300-500 km um meine
Musik zu hören und sagen mir dann “Wir mögen kein Techno,
wir mögen nur Johannes Heil.“ Das ist für mich ein großes Zu-
geständnis, dass ist mehr als nur ein Beat der zusammen ge-
Johannes Heil
„WAS DAS BODENSTÄNDIGE ANGEHT,
ICH MAG DAS NACHTLEBEN ABER SO
SACHEN WIE V.I.P AREA, BÄNDCHEN UND
ALL DAS FINDE ICH ZIEMLICH ÖDE.
DEUTSCHLAND
The Chart Issue Cuemix 05
45
steckt ist, das hat Identität, ein eigenes Gesicht. 
lernamen?
Ja, da hat mich damals eigentlich, so blöd es auch klingen mag,
die Bibel unterstützt. Für meine erste Soloplatte wollte ich
einen schlagkräftigen Namen haben. So kam ich auf “Die Of-
fenbarung.“ Johannes Heil - Die Offenbarung ... Johannes und
dann Heilsverkündung... das überzeugte mich. Und “Heil“ ist
ja nicht kaputt, nur weil man irgendwann dieses Wort miss-
braucht hat, heißt es ja nicht, dass es jetzt was ganz anderes
bedeutet. Heil heißt erst einmal “Gesund.“ Es hat sich für mich
auch nie die Frage gestellt ob Künstlername oder nicht, wobei
ich meinen Namen nie so toll fand. Wenn man Johannes heißt,
ist man eher ein Exot, ich kannte niemanden sonst der so hieß.
Aber ein Künstlername? Keine Ahnung wie ich mich hätte nen-
nen sollen.Ich hatte zwar später gelegentlich Pseudonyme, hab
aber dann auch festgestellt, dass das erschaffen eines Pseudo-
nyms Feigheit ist. Man würde ja nicht auf die Idee kommen
sich ein Pseudonym auszudenken wenn man kein Bild von sich
hätte, oder nicht das Gefühl hätte es gäbe ein Bild von einem. 
Dem wird man nicht gerecht, und darum muss man keinen
anderen Namen haben. Was bringt es auch? Am Ende hast du
zehn Pseudonyme und alles wird wieder unter Johannes Heil
zusammengefasst.
Ist das hier die Gegend in der du auch aufgewachsen
bist?
Ja ich bin unweit von hier geboren und in diesem Haus auch
aufgewachsen.
Cuemix 05 The Chart Issue
46
Ich wollte auch nicht wegziehen, nach Frankfurt oder Berlin.
Berlin war auch nie so meine Lieblingsstadt. Mein Bruder lebt
seit knapp fünfzehn Jahren in Berlin und ich habe ihn dort schon
oft besucht, will also sagen, dass Berlin mir nicht fremd ist. Mir
gefällt es, dass viele Kulturen aufeinander treffen, das Kultur-
und Kunstangebot, aber dieses Stadtleben ist nicht so mein Fall.
Frankfurt zieht mich auch nicht so an, wenn überhaupt so ein
Stadtleben, dann Hamburg oder Bremen, den Norden mag ich
sehr gern. Viele sagen ja der Norden wäre unterkühlt, hab ich
aber so noch nie feststellen können. Ich hab auch nie gedacht,
dass ich wegen der Karriere in einen Stadt ziehen müsste. Es hat
sich ja schon seit ein paar Jahren bewahrheitet, dass man auch
aus dieser Region hier einiges erreichen kann. Gut damals war
das eine größere Community, es waren viele Freunde, es ha-
ben sich Energien hochgeschaukelt und sich künstlerisch be-
einflusst und befruchtet. Es gab halt nie das Gefühl allein auf
weiter Flur zu sein. Das hat sich natürlich jetzt schon geändert,
jetzt bin ich hier in der Gegend ziemlich alleine. Es ist schwie-
riger, aber auch eine große Herausforderung weil die Kraft aus
mir selbst heraus entstehen muss. Aber was das bodenständige
angeht, ich mag das Nachtleben aber so Sachen wie V.I.P Area,
Bändchen und all das finde ich ziemlich öde, ja es ist eher schon
Verblendung... (Pause) Nachtleben find ich schon toll aber ich
bin nicht so ein Glamourtyp (lacht). Musik ist mir wichtig, ich
möchte so lange wie möglich und so gesund wie möglich, ein-
fach weitermachen. Eine Stadt wäre für mich vielleicht auch
ungesund.
Topicjumping, hier stehen sehr viele klassische elek-
tronische Instrumente herum...Sind das Instrumente mit de-
nen du auch damals angefangen hast? Und hier die 909 ist die
immer noch ein Hauptbestandteil deiner Produktion?
DEUTSCHLAND
1.201
Bad Nauheim
Ja, hier zusammen mit dem ASR 10 Sampler, ne Novation Bass-
station mein aller erster Synthesizer. Die 909 und der SH 101 ka-
men später dazu. Das waren die Instrumente die meinen Sound
in den Anfangsstunden einfach ausgemacht haben.  Ja was die
909 angeht, nach fünf, sechs Jahren wurde ich dem Sound über-
drüssig, bin auf die 808 umgestiegen. Arbeite aber heute mit
selbst angefertigten Samplelibaries um auch mehr Spektrum
an Klang zu haben. Früher stellte sich die Frage für mich nicht,
aber irgendwann wollte ich einen neuen Sound.
Live arbeitest du mit einem Harddisk Rekorder, du
legst nicht irgendwie als DJ auf?
Ne ich spiele die Sachen mit Hardware. Anfang 1998 habe ich
drei oder vier DJ Gigs gemacht, aber die Technik vor Ort war to-
taler Schrott. Das hat mich so genervt und habe mich dann ent-
schieden immer meine eigenen Sachen mitzubringen. So ergab
es sich für mich Live zu spielen, wollte dann davon auch nicht
mehr ablassen weil es mir den direkteren Kontakt zwischen der
Rohform der Musik und dem Publikum gegeben hat. Diese He-
rangehensweise hilft mir auch bei der Entscheidung wie ich im
Studio produziere.
Wie sieht die Livepräsentation rein technisch aus?
Rein technisch habe ich die 909 immer noch dabei, das Hard-
disk Recording von Roland, einen Sequencer, den Virus C auch
wegen seiner wunderschönen Sounds und seinen Einzelaus-
gängen, dann habe ich von Clavia den Nord Modular dabei, das
Korg Kaoss Pad. Im Augenblick möchte ich auf die MPC 4000
umsteigen, habe aber immer noch ein paar Berührungsängste.
Muss ich ganz ehrlich sagen, weil die Architektur wieder ganz
anders ist als bei der MPC 2000. Aber mein Equipment ist so-
wieso in einem ständigen Wandel.
Laptop und z.B. Ableton sind keine Option?
Ich würde einen Computer mitnehmen, wenn kein
Bildschirm dran wäre.
Wie bitte?
Ja, weil der Bildschirm lädt ein, nein, er fordert es einem ab da
rein zu schauen. Und es gefällt mir nicht das da ein Bildschirm
zwischen dem Publikum und mir steht. Außerdem wäre die
Versuchung groß an einem Tag, an dem ich mich vielleicht
nicht ganz so toll fühle, es mir vielleicht sogar lieber wäre jetzt
gerade nicht da zu sein, oder das Gefühl hat nicht ganz so Ge-
sellschaftstauglich zu sein, sich hinter diesem Monitor zu ver-
Bad Nauheim
Johannes Heil
stecken.  Viele Live Acts verstecken sich hinter ihrem Monitor!
(lacht)
Ist denn dein Live Equipment auch ein logistisches
Problem?
Nein, mein Equipment ist sehr kompakt gehalten und ich reise
immer zu den Gigs mit meiner Verlobten gemeinsam, immer!
Ich bin nie alleine unterwegs. Ja, und so verteilen wir das Ge-
päck auf uns Beide, und das passt dann haargenau. Manchmal
wenn jemand nicht ganz so kulant ist, müssen wir etwas Über-
gepäck zahlen. Aber Dank Lufthansa, die man ruhig auch ein-
mal loben kann, ist sehr viel Kulanz am Start und acht bis zehn
Kilo Übergepäck werden schon mal toleriert.
Gut Standardfrage! Das neue Album erscheint in ein
paar Wochen, wirst Du dann verstärkt unterwegs sein?
Ja, die Tour für „Freaks R us“ beginnt im März, am 17. März ist
Auftakt im Cocoon Club in Frankfurt und dann geht es in schö-
nen strammen Schritten weiter. Ich denke jedes Wochenende
zweimal, so vier bis fünf Monate, vielleicht auch sechs. Hängt
auch davon ab. was im Rahmen des Releases passiert.
Ist das Live spielen für dich essentiell, oder könntest
du dir ein Leben auch nur als Produzent vorstellen?
Huh, das hat viele Aspekte. Erstmal das Tiefstehrlichste was ich
dazu sagen kann ist, das es  mir finanziell unmöglich wäre nur
von der Musikproduktion zu leben. Wir beide kennen den Mu-
sikmarkt, wir wissen was mit der elektronischen Musik los ist,
auch was in Sachen MP3 passiert, da gibt es keine Möglichkeit
nur davon zu leben. Das wäre das eine, auf der anderen Seite
würde ich den Bezug zum Club, dadurch das ich auch nicht als
DJ arbeite, total verlieren. Mir ist es wichtig den Bezug zu ha-
ben, auch über die Jahre immer wieder bekannte Gesichter zu
treffen, das freut mich dann auch. Ich weiß dann, das ein Bezug
da ist der sich über mehrere Jahre aufgebaut hat.
The Chart Issue Cuemix 05
47
Reality To MIDI
1998 Debutalbum
Vor dem Auftritt bin ich fast immer sehr, sehr angespannt, so
wie das Gefühl ein Baby kommt auf die Welt und es sagt “Steck
mich wieder rein!“(lachend). Danach ist es wieder die totale
Befreiung, speziell wenn es sehr gut gelaufen ist, logisch, aber
auch wenn mal was schief geht denke ich mir, das ja nicht je-
den Tag die Sonne scheinen kann.
Gut, die absolute Standardfrage aber wirklich aus
Neugier. Wie bist du zum Techno oder elektronischen Musik
gekommen? Kam erst der Musiker dann die Musikrichtung?
(lacht) Ganz lapidar, ich würde das Ganze als einen riesigen
Zufall bezeichnen. Vor elf Jahren saß ich mit Freunden hier in
diesem Hüttchen, da drüben haben wir gesessen und Bier ge-
trunken. Zu der Zeit haben wir Metallica, Public Enemy mit An-
thrax, Faith no More gehört. Irgendwann in der Nacht ging uns
der Alkoholvorrat aus und so beschlossen wir zu einer Party hier
im Ort  zu gehen. Eine Technoparty, wir hatten überhaupt kei-
ne Ahnung was da läuft, ich dachte eher so an Sachen wie das
Boot von U96 oder so. Auf jeden Fall haben wir dann so etwa
morgens um vier festgestellt “Aha, hier sind morgens immer
noch Leute, hier ist ne Menge gute Laune, hübsche Mädchen,
die Musik lädt ein durch zu ticken“ kein Aggressionspotential
wie auf anderen Partys, einfach optimal.
Zwei Wochen später war ich in Bad Nauenheim um mit zwei
Freunden Pizza zu essen, und haben dann festgestellt, dass un-
ter der Pizzeria ein Bistro aufgemacht hatte das sich Kanzleramt
nannte. Technomusik die ganze Woche durch, also sind wir in
denn Laden rein und stellte fest “Aha, da ist ein DJ!“ und das in
einem Bistro für maximal zwanzig Leute. Es war alles sehr dun-
kel gehalten, wie man es gar nicht zuvor kannte, viele Airbrushs
an den Wänden, Grableuchten ... total spacig. Die Dekoration
war einfach mit sehr viel Liebe gemacht! Ja und so etwas ein
paar Kilometer weiter, großartig! So entwickelte sich peu a peu
immer mehr Interesse, hab Sven Väth’s Clubnight gehört, Pas-
cal FEOS, der ursprünglich auch aus Bad Nauheim kommt. Ich
bin dann fast täglich in das Kanzleramt, Heiko Laux hat mir
Cuemix 05 The Chart Issue
48
dann Platten auflegen beigebracht, eine große Freundschaft
ist gewachsen. Man lernte immer mehr Leute kennen und
es bildeten sich Freundschaften. Man kann es fast schon als
Technoverein bezeichnen.
Aber du warst zuvor kein Musiker?
Nein, gar nicht. Meine Berührungspunkte mit dem Musik ma-
chen war nur der Musikunterricht in der Schule, und da will ich
mich bei meinem Musiklehrer auch noch einmal ganz herzlich
bedanken: Es war Scheiße! Hatte eher etwas mit Mathematik
und Lehrdruck zu tun. Also gar nicht mit Emotionen. Wir wur-
den nie nach unseren Interessen oder Empfindungen gefragt,
so gab es zu der Zeit auch gar keinen Bezug Musik zu machen.
„Musik machen wollen“ kam erst durch Heiko Laux kleines
aber feines Studio das er damals hatte. Als ich dann an den Syn-
thesizern rumspielte, hab ich sehr schnell Blut geleckt und ich
merkte dann, „das Musik machen“ für mich interessanter ist, als
einfach nur Platten auf zulegen. Von meinem ersten verdienten
Geld habe ich dann angefangen Instrumente zu kaufen.... und
alles Autodidakt.
Noch mal zurück zu „Freaks R Us“, wer ist ein Freak?
Wen bezeichnest du damit?
Für mich findet das Freak-sein im Herzen statt, mein Vater kann
für mich genau so ein Freak sein wie jemand der im Club tanzt.
Ich denke die beste Grundvoraussetzung um ein Freak zu sein,
ist “nicht unbedingt mit dem Strom schwimmen wollen.“ Die
Aussage “Freaks R us“ bedeutet für mich einfach auf dem glei-
chen Level sein, Mensch sein und gut im Herzen sein. Freak
denke ich ist ein Wort das erstmals bei der Hippie-Bewegung
aufgekommen ist, und ich denke das erklärt es auch am besten:
Neuzeit Hippies, spleenige Menschen mit dem Herzen an der
richtigen Stelle.
Sollte das Album von Anfang an so heißen?
Ursprünglich hatten wir eine andere Idee. Ich wollte das gan-
ze Album auf einer sehr Zahlenmystischen Ebene transportie-
ren. Erst sollte es Sieben-Sieben-Sieben heißen. Diese Zahl war
mir aber dann doch zu hoch gegriffen, da diese Zahl letztend-
lich die Zahl der Schöpfung ist, und für so groß halte ich mich
dann doch nicht. Auf der anderen Seite ist es mir auch wich-
tig eine Zugänglichkeit zu haben, mir bringt es nichts, ein total
verkopftes, wenn auch in sich schlüssiges Werk zusammen zu
stellen, welches dann niemand entschlüsseln kann. Am Anfang
ging das Alles in so eine Richtung, aber dann kam dann der Tag
an dem ich mir sagte „Das will ich so gar nicht“ ich will Zugang,
und das Menschen Zugang zu mir haben. Also warum dann
eine Rechenaufgabe hinlegen? Die vielleicht kaum zu lösen ist
um dann heraus zu finden, dass das einzige was ich Ihnen sa-
gen will ist, das ich wie Sie bin und das ich Menschen liebe. Und
dann ist dieses “Freaks R Us“ entstanden... ich bin wie du.
Das Album ist ja schon als Promo unterwegs, hast du
schon ein Feedback bekommen?
Ja, was mich besonders freut ist das ich ein sehr positives Feed-
back von Laurent Garnier bekommen habe, das macht mich
natürlich auch stolz, weil Laurent einen super Musikgeschmack
hat, Dj Chloe, Miss Kittin... alles sehr positiv. Aber am meisten
hat mich Laurent gefreut, denn Laurent ist auch immer sehr bei
der Sache und ich weiß, dass er diese Promo Sheets auch wirk-
lich mit sehr viel Liebe ausfüllt.
Als wir uns vorhin unterhalten haben sagtest du,
„wenn der Film abgedreht ist.“ Wenn du ein Album kreierst
folgt es dann einem Konzept, sind es Geschichten oder Ge-
fühle die du reflektierst, oder sind es einfach Tracks die zuei-
nander finden? Oder ist es ein Abbild einer Zeit?
Ich würde sagen ein Abbild einer Zeit, ich glaube auch aus der
Sicht des Künstlers “das perfekte Werk.“ Da suchen wir doch
alle nach, das hat schon Afrika Bambata gesungen „everybodys
looking, looking for he perfect beat“. Den gibt es nicht, man
könnte es immer wieder versuchen im nach hinein zu ändern.
Versuchst Du dich mit jedem Album neu zu erfin-
den?
Hm.. mich zu wiederholen ist eine Sache die mir wi-
derstrebt, da wäre ich sehr unglücklich. Wenn es sich auch von
der Ästhetik her ständig wiederholen würde. Aber um auf den
Kern zu kommen, es kommt mir oft so vor das ich nicht die Mu-
sik mache, sondern die Musik mir die Möglichkeit gibt zu sagen
„jetzt Stopp oder nicht Stopp.“  Es ist schon Freiheit vorhanden,
aber natürlich bin ich auch nicht mehr frei von dem Wissen was
ich als Musiker schon gemacht und erfahren habe. Also mich
zu wiederholen das wäre das Schlimmste für mich, aber es gibt
bestimmt auch einen Widererkennungseffekt.
Du sagtest du bist verlobt, folglich wird dann irgend-
wann mal geheiratet?
Ja auf jeden Fall, wir wissen nur nicht wann das sein
wird. Vielleicht auch eines Tages Kinder, nur wir legen uns nicht
fest, im Augenblick!(lacht)
The Chart Issue Cuemix 05
49
LPs
Di e f r ü h e n Ja h re
Diskographie
Johannes Heil 96-99
U - Tu r n | F i e b e r | K a n z l e r a m t
///////////////////////////////////////////////////////////////////////////////////////////////////////////////////
TITEL LABEL JAHR
///////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Run EP (12“) i220  1995
--------------------------------------------------------------------------------------------------------------------
Die Offenbarung (12“) U-Turn  1996
--------------------------------------------------------------------------------------------------------------------
Amen (12“) Fieber Records  1997
--------------------------------------------------------------------------------------------------------------------
Der Tod (12“) U-Turn  1997
--------------------------------------------------------------------------------------------------------------------
Die Eigene Achse (12“, S/Sided) JH  1997
--------------------------------------------------------------------------------------------------------------------
Feiern (12“) Kanzleramt  1997
--------------------------------------------------------------------------------------------------------------------
No Pain No Gain RMXes (2x12“) i220  1997
--------------------------------------------------------------------------------------------------------------------
Amerika (12“ Parotic Music  1998
--------------------------------------------------------------------------------------------------------------------
Amerika Mixes (12“) Parotic Music  1998
--------------------------------------------------------------------------------------------------------------------
Calling (12“) Kanzleramt  1998
--------------------------------------------------------------------------------------------------------------------
No Gain No Pain (Remixes 2) (12“) i220 1998
--------------------------------------------------------------------------------------------------------------------
P.A.X. (12“) Kanzleramt  1998
--------------------------------------------------------------------------------------------------------------------
Per Disciplinum Mea Lux Videbis (2x12“) U-Turn  1998
--------------------------------------------------------------------------------------------------------------------
Reality To Midi (2xLP) Kanzleramt  1998
--------------------------------------------------------------------------------------------------------------------
Reality To Midi (CD, Album) Kanzleramt  1998
--------------------------------------------------------------------------------------------------------------------
Sniper EP (12“, EP) Fieber Records  1998
--------------------------------------------------------------------------------------------------------------------
Bittersüss (12“) Propaganda  1999
--------------------------------------------------------------------------------------------------------------------
German Rebel (12“) Creation Rebel  1999
--------------------------------------------------------------------------------------------------------------------
Illuminate The Planet (3xLP) Kanzleramt  1999
--------------------------------------------------------------------------------------------------------------------
Illuminate The Planet (CD, Album) Kanzleramt  1999
--------------------------------------------------------------------------------------------------------------------
Let The Time Go By !?! (12“, S/Sided, Ltd, Etch) JH  1999
--------------------------------------------------------------------------------------------------------------------
The Eye Of Providence (12“) Kanzleramt  1999
--------------------------------------------------------------------------------------------------------------------
Who Am I (12“) Kobayashi Recordings  1999
Cuemix 05 The Science Issue The Science Issue Cuemix 05

50 51

Hai Nguyen

Next
Life
Oslo, Norway

Tormod Christensen

06
NR

N O R W AY
Cuemix 05 The Science Issue
52
Hai Nguyen
Nl
What about your love to Heavy metal music, when
have you started to listen to this music?
I began listening to Helmet, Biohazard etc. around the age of
ten and was fast driven further into this universe. Later I was
fascinated especially by Straight Edge hardcore for it´s high le-
vel of adrenalin on stage, and because this scene was influenced
Oslo, Norway by many styles within hard music.
But I also remarked some ...hm .. call it Prog-Rock in-
Tormod Christensen
fluences in your music, am I completely wrong?
No, that is very correct. I dig hard music, but I also want to de-
velop Next Life in new ways to create images that differs from
the heavy bands I like. The prog-element also makes it easier to
break with atmospheres, and to tell stories that not only con-
How Do You Get Signed On
cerns doom, horror or dismay. Several bands have done this be-
fore though, such as Zeni Geva and Opeth.
The Fantastic Cock Rock Dis-
So you started as a guitar player?
Actually I started out as computer freak, my family bought a
co Label? ... And From Where
Commodore 64 when I was four years old and I became pretty
fast addicted to both the sound and games. Guitar became in-
teresting later as I developed a consiousness towards “normal”
Do You Know Jason Forrest?
music. I started doing electronic music two years after starting
playing guitar around the age of ten, but then I kept the two
universes separated as my bandmates from that time were not
interested in computer audio. My first performance with Amiga
and guitar took place in 1995.
My dear friend are mokkelbost, who is member of kill and single unit, gave a cd-r to jason forrest some years ago when he was still in the US. Later
i saw a show by this crazed individual in norway, which i in many ways felt highly related to. He also had a lot to say about my work and showed I remarked that the Katrine was replaced by Tormod.
Is Next Life a open project with changing members? What can
interest for a possible release. Then we made a long term contact which was, and still is of great inspiration. A lot of the reviews are very positive,
you tell me about the structures and philosophy of Next Life  
and mentioning highly relevant stuff, i am very happy for the response that we get. We have also had a couple of real slaughts. I guess next life is
one of the bands/projects that either can open doors in your mind, or be really annoying. Maybe a little because of it´s intensity and restlessnes. Tormod has been in the project since 2000, when Katrine joined
      in 2005 we first became a trio. However Tormod had to quit and
move out of town for while, and the project was left with only
the two of us. Katrine was already established in other busi-
nesses and had to quit pretty fast. But as Tormod moved back to
Oslo fast after Katrines disappearance, we are still a two-piece.
But yes, we keep that open as guarantee for continuation, as
Next Life originally was founed because lack of musicians for
this kind of music. Also it suits our way of writing songs: one
composer per song. I would also like to say that it is important
when writing songs for Next life that the composer at least have
the will to build an image that  has not yet been presented in
music. It is supposed to  be kind of music for the future, hehe.
The Science Issue Cuemix 05
53
This leads to the (boring) question number „1 „what‘s
behind the name Next Life...is the name  connected to some
video games or a book?
The name was really connected to a feeling that I had around
the period Next Life was founded. I knew few people that cared
for hard music also being played with much synth, and as al-
ready mentioned, most of my previous bandmates one by one
quit for different reasons. Therefore, the only thing to do was
to write down a stream of compositions on my Amiga 1200 as I
had many ideas, and to play fuzz-guitar over it. The saved files
were called “Next Life 000.dbm”, because at that time it seemed
like music that would never see daylight. But I showed it to
Tormod as we had become great friends, he convinced me to
do a show later the same year with the audio that was already
there.
How long have you worked on the Electric Violence?
and is it recorded in a studio or is it a kind of home produc-
tion?
I guess this is already answered above, Electric Violence is part
of a Next Life collection of 49 songs written from 1999-2004. It
was recorded in my office using Amiga and PC for composing,
and Mac for production and recording, we put the guitar amp
in a closet in the hall.
However it was finalized at Strype Audio, leaving the sound
slightly less metallic and with more punch.
A part of your music are computer game sounds,
are you addicted to computergames? What‘s behind it? And
which kind of games and computers, consoles have you used
to get these sounds?
Here is answer for the part I have not already answered, hehe: I
like the feeling of intensity and precisesness. Computergames
have a great ability to cover these needs, especially many of the
old 2D games. Audiowise I like the sound of Super Ninendo a
lot. It can generate beautiful and distinct drums, and also have
nice chipsynths, but with everything left a little unpolished.
But I also like more crystal-like soundscape as for example Sega
Megadrive, it is more metallic and more on-going. I have used
sounds that has been generated from soundchips such as the
above mentioned, plus Commodore 64, Famicom, Gameboy
and much Amiga which is the computer of Next Life´s origin.
How do you manage to play so exactly live? Do you
play with a „click“ in your ear, or what?
 Cuemix 05 The Science Issue
54
Latest Release
Electro Violence
Changes of Patterns
Tracks 01 02 03 04 05 06 07 08 How long have you worked on the Electric Violence?
First of all why have you decided to release „Electric
Violence“ with three different artworks? Any special meaning
behind it or just a question of art...design?
All the three images that you see are actually parts of the same
cover, front, back, and inside. Although the main motive is the
same, the expression is somehow changed with the colours. I
guess It is a way to describe the audible emotions as varied, but
within the same universe.
The project Next Life, was founded in 1999. So was
the type of music or better say the direction always like the
songs we can hear on Electric Violence?
Yes, it was once a one-man research project, but I think now it´s
more of a band with activities in many scenes. Such as doing
music for dancepieces, games, short movies etc. It has always
been important for Next life to create a connective space bet-
ween computergame-music and music that already is being ta-
ken seriously in music buisness. I grew up with punkrock and
metal, so it was natural to develop from these genres. The clo-
sing track on “Electric Violence” and some others was actually
written during 1999-2000, but has been modified and further
06
produced up to the time of the recording in 2004. You can hear
that the metal-part  of “The Dungeon”  track is more typical
than in “The Mirror” or “Vanished” which were written in 2004.
But yes, the direction has been more or less the same from the
beginning: progressive, electronic and violent.
How do you get signed on the fantastic Cock Rock
Disco label? ... and from where do you know Jason Forrest?
My dear friend Are Mokkelbost, who is member of KILL and
Single Unit, gave a CD-R to Jason Forrest some years ago when
he was still in the U.S. Later I saw a show by this crazed indivi-
dual in Norway, which I in many ways felt highly related to. He
also had a lot to say about my work and showed interest for a
possible release. Then we made a long term contact which was,
and still is of great inspiration.
Electric Violence is your first Long player, I know you
also had a 7“ inch release before, so you can name Electric Vi-
olence a Debut album. What kind of reactions have you recei-
ved so far?
A lot of the reviews are very positive, and mentioning highly re-
levant stuff, I am very happy for the response that we get. We
have also had a couple of real slaughts. I guess Next Life is one
of the bands/projects that either can open doors in your mind,
or be really annoying. Maybe a little because of it´s intensity
and restlessnes.
What about your love to Heavy metal music, when
have you started to listen to this music?
I began listening to Helmet, Biohazard etc. around the age of
ten and was fast driven further into this universe. Later I was
fascinated especially by Straight Edge hardcore for it´s high le-
vel of adrenalin on stage, and because this scene was influenced
by many styles within hard music.
But I also remarked some ...hm .. call it Prog-Rock in-
fluences in your music, am I completely wrong?
No, that is very correct. I dig hard music, but I also want to de-
velop Next Life in new ways to create images that differs from
the heavy bands I like. The prog-element also makes it easier to
break with atmospheres, and to tell stories that not only con-
cerns doom, horror or dismay. Several bands have done this be-
fore though, such as Zeni Geva and Opeth.
So you started as a guitar player?
Actually I started out as computer freak, my family bought a
Commodore 64 when I was four years old and I became pretty
fast addicted to both the sound and games. Guitar became in-
teresting later as I developed a consiousness towards “normal”
music. I started doing electronic music two years after starting
playing guitar around the age of ten, but then I kept the two
universes separated as my bandmates from that time were not
interested in computer audio. My first performance with Amiga
and guitar took place in 1995.
I remarked that the Katrine was replaced by Tormod.
Is Next Life a open project with changing members? What can
you tell me about the structures and philosophy of Next Life  
Tormod has been in the project since 2000, when Katrine joined
in 2005 we first became a trio. However Tormod had to quit and
move out of town for while, and the project was left with only
the two of us. Katrine was already established in other busi-
nesses and had to quit pretty fast. But as Tormod moved back to
Oslo fast after Katrines disappearance, we are still a two-piece.
But yes, we keep that open as guarantee for continuation, as
Next Life originally was founed because lack of musicians for
this kind of music. Also it suits our way of writing songs: one
The Chart Issue Cuemix 05
55
composer per song. I would also like to say that it is important
when writing songs for Next life that the composer at least have
the will to build an image that  has not yet been presented in
music. It is supposed to  be kind of music for the future, hehe.
This leads to the (boring) question number „1 „what‘s
behind the name Next Life...is the name  connected to some
video games or a book?
The name was really connected to a feeling that I had around
the period Next Life was founded. I knew few people that cared
for hard music also being played with much synth, and as al-
ready mentioned, most of my previous bandmates one by one
quit for different reasons. Therefore, the only thing to do was
to write down a stream of compositions on my Amiga 1200 as I
had many ideas, and to play fuzz-guitar over it. The saved files
were called “Next Life 000.dbm”, because at that time it seemed
like music that would never see daylight. But I showed it to
Tormod as we had become great friends, he convinced me to
do a show later the same year with the audio that was already
there.
and is it recorded in a studio or is it a kind of home produc-
tion?
I guess this is already answered above, Electric Violence is part
of a Next Life collection of 49 songs written from 1999-2004. It
was recorded in my office using Amiga and PC for composing,
and Mac for production and recording, we put the guitar amp
in a closet in the hall. However it was finalized at Strype Audio,
leaving the sound slightly less metallic and with more punch.
A part of your music are computer game sounds,
are you addicted to computergames? What‘s behind it? And
which kind of games and computers, consoles have you used
to get these sounds?
Here is answer for the part I have not already answered, hehe: I
like the feeling of intensity and precisesness. Computergames
have a great ability to cover these needs, especially many of the
old 2D games. Audiowise I like the sound of Super Ninendo a
lot. It can generate beautiful and distinct drums, and also have
nice chipsynths, but with everything left a little unpolished.
But I also like more crystal-like soundscape as for example Sega
Megadrive, it is more metallic and more on-going. I have used
sounds that has been generated from soundchips such as the
above mentioned, plus Commodore 64, Famicom, Gameboy
Cuemix 05 The Chart Issue The Science Issue Cuemix 05

5 5

We have only been there for

Changes of Patterns
a short time, but the system
seems pretty effective as many
people are informed about
Tracks 0 0 0 0 05 0 0 0

what you are doing and can you manage the video, the beats on the laptop, do you use any
foot controllers? What about your setup I mean the keyboard
can be described as a Webspace in the Web? Your experiences...
is it more direct than running a webpage?

easily check it out. But it is a lot

and the guitar-amp? I am really curious..
We have only been there for a short time, but the system seems
The videos are pre-written to fit the composistions, it is not pretty effective as many people are informed about what you

of information, and a band that

done live. We choose to do that in order to present a directed are doing and can easily check it out. But it is a lot of informa-
drama. Everything on a Next Life concert is usally pre-calcula- tion, and a band that might be interesting over time is too ea-
ted, except for the physical performance, and performance of sily forgotten when you click “close” on the window. The high

might be interesting over time

guitar and melody-synth. Technically there is not much to tell. tempo on internet also makes one more impatient. Next Life
The machine runs the show, we try to hang on to it. has actually not been properly available on web until now, and
the official page is currently maintained by Are Mokkelbost. I

is too easily forgotten when you

So many questions about your live set up...when can did not use internet very much until just a few years ago when
we see you live on stage? Also any plans to play outside of Eu- I “quit” using Amiga. In our case MySpace is much more direct
rope? than our own website, also because we have chosen not to have

click “close” on the window.

a guestbook.
I hope we get to play outside Europe soon, maybe we get eco-
nomical support from the Norwegian government and can go to Electric Violence sounds a little bit scary... How would
USA or Asia in the future. Meanwhile we have shows coming up you describe yourself as a calm person or more like a person
in Latvia, Denmark, Sweden, Spain and Norway. you can meet in the fi rst line jumping and dancing at a metal
concert?
This question is a little bit unfair, but how would you
describe your album to a person which haven‘t heard Next Hehe, I danced a lot in the moshpit when I was younger, and I
Life? still do if I really enjoy the music. On the surface it may not seem
like a friendly dance, but for those into the music, it is about love
Oslo, Norway Hmm, the music is certainly melody-based, but very hard-hit- and passion. I often feel hyperactive but I also like to relax, that

0
ting. A little like battle music in computergames, intens and is maybe why I enjoy complex and fast-going music so much,
Tormod Christensen dramatic. Other than this there is also safe spots where you can then at least the brain can be hyper so the body can relax.
rest, re-equip and save your game before the next level, which is
a great thing to do because there are no extra lifes. What do you need for a perfect day?
Next Life
More and more artists and fans sign up for MySpace. A good idea. A quality art discovery. Hang with friends. A horror
Your opinion about this movement? Do you think My Space movie.

www.cockrockdisco.com/CRD2/artists-nextlife
Cuemix 05 The Chart Issue The Science Issue Cuemix 05

58 59

MEGACITIES FROM ASIA TO AMERICA

2007

MEXICO CITY TOKIO SAO PAULO BANGKOK BUENOS AIRES SHANGHAI

MadEp
20
15
10
N e w Yo r k C i t y

5
01 02 03 04 05 06 07 08 09 10 11 12 13
Mad Ep
Matthew Peters | Not afraid of spiders
NEW YORK

POPULATION RANGE 0

07
Cuemix 05 The Chart Issue The Science Issue Cuemix 05

60 61

WORCESTER from the beginning.  I used to always stay deep in the library’s
stacks looking through lesser known scores and recordings to
94.300 not only take in more music, but also gain a greater understan-
ding of the major works as well.  I found that seemingly distant
ideas had a lot in common and could be smoothly bridged to-
gether successfully, but you have to be able to see a larger pic-
ture.  In recitals I would program Brahms with Schnittke and
MONTREAL
Boccherini with Bloch. The album does, however, reflect a lot
of the sounds I was performing live in 2005.  I started writing
Another musical element you‘ve used in your music
are classical  Hip-Hop elements. I would like to know when
you‘ve started to consume Hip -Hop and do you still listen to
actual releases?
I got into hiphop really early - by the time I was 7 or 8 [1983-84]. 
I had a cousin who lived outside of Minneapolis and he got me
into K-Tel breakdancing mixtapes at first, then later Run DMC
and Public Enemy.  It wasn’t easy though- hiphop was still re-

NEW YORK
3.700.000 and remixing tracks that I wanted to play out…  Some would be
used in different style sets than others, but many have become
staples overall.
latively new and trying to get a hold of it in Iowa was rather
difficult until at least the late 80’s, so at first I relied on dubbed
cassettes that I got from him a couple times a year ... As far as
anything current, I haven’t been grabbed by much of what has
If I would try to find out for which style of music your been in the mainstream for a while…  There are definitely peo-

22.747.604
heart pounds most I would guess it is Jazz because of the tracks
„Nicoffeine“ and „60202strut“.... am I completely wrong?
Haha...  No, you are not completely wrong- but you aren’t com-
pletely right either.  I do like jazz quite a bit- even though I don’t
know it as extensively as I know classical or hiphop.  Many of my
jazz-influenced tracks were created out of my complete respect
for David Young… even ones like “Nicoffeine” that he doesn’t
POPULATION play on.  I met David while we were in university - he was in the
jazz program and I was in the classical one - but it wasn’t till the
year after I graduated that I really got to know him.  I worked at
a jazz bar for a few months and he played every Friday.  He sim-
ple really doing exciting things in hiphop, they are just a little
further under the radar… but not for long, I don’t think.  I really
like the Shadow Huntaz, Team Canada, and Blu Rum 13.  I also
just played a show in Montreal and saw Tez and Subtitle- both
really rocked it as well.
When have you started to develop the idea for „Not
Afraid of Spiders“ right after the release of „Eating Movies“?
Or did you take a break between these two albums?
I am always working on tracks and developing ideas - so I didn’t
take a break after “Eating Movies”, but I didn’t start on it right

Mad EP
You are not afraid of spiders? Any other animals you
are afraid of?
Not particularly.  I mean - of course - there are plenty animals
that could bring about my demise.. but no, there aren’t any cre-
atures that I irrationally fear.   For me it‘s really unbelievable that someone is able
What‘s behind the title of the album „Not Afraid of
Spiders“?
Album titles can have a variety of meanings…  and often have
multiple connotations for the artist and his/her family and
friends. However, one particular importance is that while I was
putting together the album, I was reminded of how in my child-
hood I had an absolute adoration for spiders.  I saw them as
the guardians of the house and garden from any insects..  and
would even help feed them during slim times to make sure they
stuck around. Remembering that, the more I thought about
these tracks, the more I realized that if there ever had been an
afterhours wild out, where all the spiders felt the funk and got
rowdy, that I hoped this would have been the soundtrack. It also
happens to tell a special story to my fiancée.
to arrange so many styles of music on one album like you did
on „Not Afraid of Spiders“. I mean „Not Afraid of Spiders“ is
an album you can listen to complete again and again without
getting tired, everything‘s in the right place everything‘s make
sense. I really would like to find out where‘s the secret of mi-
xing so many styles so consistent. Is this your understanding
of music to combine different styles or was it kind of a expe-
riment to try out as many styles as possible for „Not Afraid of
Spiders“?   the idea, but couldn’t quite get into it, so instead of rocking acid
Thank you.  I never set out to try out as many styles as possi-
ble…  I think it just comes from starting with a wide palette
ply killed it every time, week after week… absolutely blew me
away.  I left for Montreal shortly afterwards, but when I came
away either. I worked on my EP for Hymen’s “Travel Sickness”
boxset first in spring 2005, started putting together “Spiders”
back to Evanston/Chicago, he was one of the first people I cal- in the summer, then handed in the final draft in the late fall. 
led.  He has played with the Manhattan Gimp Project, appeared All along though, I was working on a lot of other projects - my
as soloist on many of my tracks, and I have remixed some of live laptop storytelling trio (the Psychasthenia Society), the tri-
his jazz pieces.  He moved to New York a couple years ago, and ple cd “the Madlands” (coming on Ad Noiseam in November),
we did a few more tracks, but have had a hard time keeping in
touch with our hectic schedules. 01 02 03 04 05 06 07
When I listened to „Not Afraid of Spiders“ the first
time I was blown away by the opener  „Acid Jig“ which sounds
a little bit like „Woodstock on Acid“. Have you used classic
samples for this track or have recorded a new session and cut
it into pieces?
Well, a lot of people at Woodstock (on & offstage) were on acid…  
but yes, I used samples.  I wrote it about 18 months ago when a
lot of people seemed to be regaining an interest in acid electro
tracks again.  Even breakcore and hiphop guys were trying their
hand at it - and I was repeatedly asked to write one too. I liked
electro, I sampled acid rock jams.  After slicing it up, it quickly
fell into place and has become one of my favorites to play live.  

06
Cuemix 05 The Science Issue
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as well as collaborative tracks with Shadow Huntaz, Drop the
Lime, and a bunch of remixes.  
The concepts I had in my head changed a little bit along the
way, but I always knew I wanted to incorporate a more ‘acoustic’
and ‘instrumental’ sound in this album- even more than “Ea-
ting Movies”.  I remember telling Stefan at first “OK- so I think
I am going to be including live marimba, sitar, accordion, and
possibly tuba on this record”, and to his credit, Stefan was re-
markably game all along and said “Go for it!”.  As it turned out, I
didn’t have time to record the tubist or marimbist [and the sitar
& accordion would have been played by the same person, but
we only had time to record the sitar].  I still had plenty of instru-
mental recordings to work with, and I feel the end result has a
good balance.
Like on „Eating Movies“ you worked with a lot of
guest musicians. How much influence have these guests in
your music and production? Can the collaboration change
the whole idea of a track?
The guest musicians have a tremendous influence!  ..and not
just on the songs, but me as well.  Sometimes I will give them a
very skeletal framework to have full reign with, and depending
on what I get back, I will chop it up to varying degrees, but also
take micro snippets of their playing, breathing, studio crosstalk,
etc. and incorporate that into the track.  On the other hand, the-
re have been times the resulting recordings would inspire me to
scrap the whole track completely and write something entirely
new to accompany it.
Maybe the most boring question of this interview, but
I really would like to know the meaning of your artist name
„Mad EP“ and why have you chosen this name?
It’s a play on my name - Matt Peters.  Matty P.  Mad EP.
„Not Afraid of Spiders“ comes out on the German la-
bel Hymen Records, from where do you know these restless
guys?
Stefan emailed Charles [End] and asked him to help get in touch
with me.  He really liked “Eating Movies” and asked if I would
be interested in working on some projects.  I’m a big fan of a
number of records in his catalog, so I was definitely interested
to see what ideas we could come up with. Almost right away I
gave him my EP for the “Travel Sickness” boxset and then star-
ted on “Spiders”.  We work together very well, and seem to agree
on concepts quite a bit.  We have a couple rowdy vinyl projects
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63
already being put together and will be coming out soon as well.
When it comes to your curriculum vitae and your
education as a classic musician it would take hundreds of
questions to feed my curiosity. Please allow me just a few que-
stions....You started to play cello at the age of 8 and studied
music theory, composition and improvisation at the age of 14.
So you were pretty young when you get interested in music
and art. What was the impulsion for this big interest in classic
music?
I just took to it immediately - I’ve always been obsessed with N e w Yo r k C i t y
it.  Evidently when I was 1, I had a toy piano that I would play
33,7%
for hours and hours…and by the time I was 2 was asking my
parents for lessons on our full sized one.  We were in a really
small town at the time and obviously no one there would teach
such a small child..  we found a couple a few years later, but they
never worked out.  In the meantime, I had learned how to use
my parents’ record player and almost wore out the few classical
compilation sets they had.  I was also a fanatic of their Commo-
dores, Four Tops, and Temptations records.  The Village People
was another favorite.
When my younger brother started violin, it prompted me to try
the cello when I was 8 and it was magnetic.  I loved that I could
POPULATION
do anything melodic I could think of, while always having the
option of the growling bass.  After that I just immersed myself
in it - playing in as many chamber groups as I could [instead of
working at grocery stores like a lot of other kids, I had a gig quar-
tet for weddings, receptions, and other events], taking theory
lessons, entering competitions, performing recitals, and even
played along with my Jane’s Addiction and Butthole Surfers re-
cords…  I just was playing all the time. Even through universi-
ty I intended to be a professional cellist, and it wasn’t until the
beginning of my last year that I decided that as diverse as the
cello could be, I wanted to be able to expand even further.  A
few months later I interned with WFMT in Chicago and started
producing the Chicago Symphony weekly radio broadcasts.  It
went so well they hired me for the following season after I gra-
76,3%
duated.
01 02 03 04 05 06 07
Kids at the age from 8 to14 play baseball or football Matthew Peters | Not afraid of spiders
or whatever...how must I picture myself „young Matthew“ as a
loner, a „Wunderkind“, an outsider,or a normal boy with a big
interest in music?
Hahah..  probably a little of each.
Besides your musicians work do you still work for
Cuemix 05 The Science Issue
64
theatres and as a booking agent for classic musicians?
The Psychasthenia Society had a series of performances at the
Collective:Unconscious theatre.  We did 4 shows in October
2005 of our hourlong piece “the Nanolove Report”, which incor-
porates a series of tales told with live video and audio scoring…
as well as a few monthly shows over the summer and a recent
MEXICO CITY TOKIO SAO PAULO BANGKOK BUENOS AIRES SHANGHAI performance at the MonkeyTown restaurant and performance
space…  where we did two shows to dining audiences witnes-
sing us play in the middle of the room while simultaneously
projecting on all 4 walls. I haven’t been working in classical mu-
sic, as an agent or otherwise, for a couple years…but I still re-
main in touch with a lot of people.  My brother is still a violinist
[my sister is a school teacher, but also plays electric violin in a
band], and many of my friends are in various orchestras, cham-
ber groups, music schools around the world… so I never really
feel like I have left it completely.
In your opinion what can a „normal“ electronic artist
learn from a classic musician?
I’m not sure what a “normal” electronic artist means, but I think
musicians in every genre have some overall strength & weakness
tendencies from which they can learn from one another.  For in-
stance classical musicians have hundreds of years of repertoire
and a mountain of history to draw inspiration from, but jazz
musicians have developed different means to be vastly diverse
in their expressions..  such as an uncanny ability to transpose.  mean f.e. that Mad EP probably sound different if he would
Not many orchestral violinists could automatically start playing
the 1st movement of Tchaikovsky’s 4th Symphony in b minor
instead of f minor off the top of their heads, whereas many jazz
musicians can do that with a multitude of standards.
I don’t think formal training is automatically necessary to be a
Mad Ep
good musician.  Some people have a visceral instinct and seem
NEW YORK to be able to make great music even if they don’t always know
how they did it.  But I do hear people say things like “Man, I am
gonna do some crazy stuff and make a track in 35/19 time signa-
ture!!”, which is simply nonsensical.  That doesn’t really mean
anything.  I’m all for rule-breaking, but it helps to understand
the rules you are trying to break… otherwise you are just swing-
N e w Yo r k C i t y ing at nothing.  If there is one thing that classical music did well,
is set up a good musical notation system that was particularly
accurate at representing rhythm.  Anything that can be thought
MEGACITIES FROM ASIA TO AMERICA up has a means of easily being expressed rhythmically [timbres
2007 and tones are the more elusive ideas to convey in a written man-
ner]..  and so if they want to get crazy with beats, that’s cool.  It’s
not necessary to be technical, but it is much more efficient to
know the vocabulary and the math that go along with it.
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Would it be interesting to combine a classic set and
electronic set? I know that I am walking on thin ice with this
question, because I don‘t know if you done this on your older
releases...  
Don’t worry, the ice is fine.  In some ways I do use a lot of classi-
cal elements, whether it be samples, influences, methodology
or live playing.  However, other than the collection of Manhat-
tan Gimp recordings, there aren’t many tracks I directly play
cello on.  After 14 years, I was ready to focus on something else
for a while…even though I approach composition and produc-
tion in a very similar manner to the way I approached cello. 
Eventually there will probably be a point where I change it up
and integrate it fully...but for now, I still have more Manhattan
Gimp material I want to put out first and keeping the solo cello
appearing only once and a while…starting with a new one I just
finished.
I have collaborated live with classical musicians though.  For
my “When I’m 6” release party, Jun Jensen played cello, Simon
Boyar played marimba, and I played laptop, doing an orche-
strated 30 minute remix of the original track.  Both are unbe-
lievably virtuosic and emotional players and it was an extreme-
ly intense performance.
You live in New York for a couple of years, do you
think that the residence of a musician affects his work, I
be based in Paris, Moscow or Toronto?
Yes and no.  I don’t think I sound the way I do because any one
particular city - and so far, my releases have included tracks
spanning the entirety of my time composing in Chicago, Mon-
treal, Iowa and New York.  However, I do take in ideas from my
friends and peers in all those cities and more… so I am influ-
enced by my surroundings in some way or another, but that’s
not always the way I arrange it for releases.
What do you need for a perfect day?
My fiancée and kids.
www.mad-ep.com
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Area of San Fran

San Francisco

Christopher
Willits
USA

USA

37° 46 N, 122° 25 W
COUNTRYSIDE

01 02 03 04 05 06 07

POSITION
CITY
Cuemix 05 The Science Issue
68
Christopher, after several projects and several colla-
borations with people like Miguel de Pedro or Zach Hill „Surf
Boundaries“ is you first complete solo album. What feelings
do you have a few days before the street date? Are you happy
with the first reactions you‘ve received?
I‘m very happy with the feedback I’ve been getting. People are
really connecting with these sounds in a way that I did not ex-
pect.
Christopher Willits
Do you also have plans to perform „Surf Boundaries“
„I never decide an
live to the audience or is this album to complex with for a live
set? I ask this question because a lot of artists want to try out
how the audience reacts directly to the music, reactions you
probably never receive without a direct contact to the audi-
arbitrary structure for
ence.
I do have plans to perform surf boundaries live. I have recrui-
ted drummer Sam Ospovat, vocalist Maria Zoe, and Adam Theis
the music within it.“
horns and bass, Kenric McDowell bass and samples, and I will
be playing guitar, samples and baritone guitar, and processing
of it all. We are going to play the whole LP all the way through
with video weaving in with the sounds. The 1st show is Oct 20th
in San Francisco. Then a short east coast run and longer 3-week
tour in the first of December throughout the US. I hope to make
it to Europe in the early part of 2007 and Japan in the summer.
What I really love about „Surf Boundaries“ is the
pleasant fact that although the album is very complex and
conceptional, you are never tempted to skip the tracks, it‘s a
01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 real......., hope it‘s the right word „listening through“ album.
TRACKS Do think the word „concept album“ is the right description
for „Surf Boundaries“?
Yeah most of my releases have some concept that glues all the
sounds together in a way. The concepts grows from the sounds
and my life. I never decide an arbitrary structure for a release or
the music within it. It always grows from the ground up.
I would like to know what „Surf Boundaries“ means?
I don‘t know too much about surfing and it‘s terms. I just
61 dB
70 dB
98 dB
constructed a theory about the title that it is meant in the way
like: „live in general is a up and down we met people we leave
people. Friendships relationships come and go, when we have
everything we miss something and when we have something
we miss everything. Maybe comparing live with surfing: like
waiting for a wave, maybe the perfect wave, and when some-
one had a ride at a perfect wave he is looking for the next and
better one.....“. Now laugh about me and please explain me
The Science Issue Cuemix 05
69
what‘s meant by this wonderful title. Is there a special story
behind this album?
You pretty much nailed it. Surfing the boundaries of energy
between people and being conscious of your own space, in
order to make the healthiest decisions for yourself. By surfing,
perhaps feeling the healthy boundaries between you and the
people around you. A US reviewer mentioned that stylistically
the music on „Surf Boundaries“ surfs the boundaries between
many different genres. That’s a cool read of the title too I think.
That was not intentional though.
But besides discussing the meaning of the title I
have to say that the music, the title are perfectly represented
through the wonderful artwork. Who did the artwork and
who had the idea for it?
Maiko Kuzinishi, and old friend from art school, designed that
piece. I had ideas about animals and things morphing into
other shapes and energy, and she represented what I was thin-
king so exactly.
You live in California right, so I guess that you also
surf a lot, right? (laughing)
Actually, no, not at all. People do surf in San Francisco, but the
water is freezing cold and it‘s infested with Great White sharks.
I‘ll take Hawaii and a warm beach please. Funny though, eve-
ryone thinks I surf since I used the metaphor of surfing in the
title. I’ve done a little surfing, tried it, but I have yet to hang ten.
And definitely never caught a freezing cold wave in San Fran-
cisco.
A few days before I asked the same question ano-
ther artist, but I must ask you this question again. Maybe I
am wrong but sometimes I have the feeling that the music
is connected to the place where an artist lives. So would you
agree that your music probably would sound different if you
live for example at the French Riviera or in Copenhagen? Do
you think there‘s a connection between an artist’s work and
the place he lives or wrote the music?
I think we are all influenced by our environment in ways that
we are not always conscious of. There‘s the local vibe and peo-
ple and colors and plants, and obviously certain musical lea-
nings of specific cities. So in that sense I totally agree with you.
It is impossible to know, however how this LP would have soun-
ded if I made it in the French Riviera... Actually, I don’t think I
would get any work done if I lived in the French Riviera. San
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70 71

„I think we are all influenced by our

environment in ways that we are not
always conscious of. There‘s the local vibe
and people and colors and plants, and
obviously certain musical leanings of
specific cities.“
70 dB 0 100 200 300 400 500

Christopher Willits

70 dB

70 dB
Cuemix 05 The Science Issue
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01 02 03 04 05 06 07 08 09 10 11 12 13 14 15
Francisco is cold enough that it keeps me inside working and off
the beach. (laughing)
Let‘s go back to the start of your musical career what
came first Christopher the guitarist?
Since I was very young I had a lot of interest in art, and did not
start playing guitar until I was 13 or so. My dad bought me a
guitar and after that I knew that playing music and making art
was my path in life.
When did you get interested in electronic
music?
I became interested in electronic music more through video art,
sound art and old fluxus work. Nam June Paik, Steve Reich, Al-
vin Lucier, Terry Riley, Lamonte Young. I was more interested
in the „electronic process“ of music, realizing that any recorded
music, anytime you use a microphone and transduce acoustic
energy into a voltage, your music has become electronic. If you
think about it, electronic music is not a genre per se its more of
a description of a process.
Have you played all instruments on „Surf Boundari-
es“ also the horns and the drums? I also asked myself if you
ever played drums in a Jazz band because the drums sound so
perfect and jazzy?
Cool. Yeah Sam Ospovat, an old friend from Mills College played
drums on „Yellow Spring“ and „Medium Blue“. I dig his playing,
he can add some interesting tension to a groove, by making it
sound like it‘s on the edge of falling apart very gracefully. And
Gabriel Coan Played Drums on „Colors Shifting“ and „Green
and Gold“ and a couple others. He‘s a very grounded, rock solid
drummer. Very happy both of them added their touch to these
songs. I played a lot of the instruments on the record, but I did
not play horns or strings.
You work a lot with loops and I really would like to
describe it as the „Christopher Willtis Loop Technique“. Be-
cause you cutted the start and end points of some loops in a
way that that normally that they couldn‘t sound proper, but
you shifted the points in away that the loops are always make
sense. (Hope I explained it right) Are you fascinated by loops
and do you experiment a lot with them?
That‘s cool. Yes I love the rhythms and grooves that loops pro-
duce. When you find a good loop it vibrates and you fall into it.
It can be mesmerizing. You actually described the process pret-
ty well. I‘m recording guitar lines and looping and folding them
at different start and end times so that I make melodic rhythms
out of the notes and melodies that I’m playing.
Besides classical horns you used the shoegazer guitar
sound, which was very popular in the Nineties. When did you
become interested in this sound? And which bands have in-
fluenced you to use this unique effect?
I‘ve been making harmonic noise experiments since I first star-
ted playing guitar, so my interest goes way back to my first years
playing electric guitar. Back in the early-mid 90‘s Brad Laner
from Medicine was a huge influence for me in terms of harmo-
nic distortion type sounds. And of course Jimi Hendrix and John
Coltrane.
USA
Who is the girl singing with you? From where do you
know each other? The vocals sound very harmonic..
Latrice Barnett sings in harmony with me. And a lot of these
songs are about our changing relationship. She‘s one of my best
friends of all time. She has an amazing voice and a very solid
solo career in the dance scene. Her latest record, „Illuminate“
out on Ultra Records is a good entry point for anyone out there.
Can you tell me something about the recording pro-
cess for „Surf Boundaries“.
All the tracks grew from guitar improvisations and experiments,
so with time parts sedimented ands collected, while others ero-
ded away. I was constantly building and remixing what I had
previously done until it felt right.
A lot of recording and processing and subtracting. It was a very
natural process in the sense that it all grew like a plant, from the
bottom up. I never had an arbitrary plan for a certain sound or
feeling. All of the emotion or feelings in these songs emerged
from the sounds and my relationship to them, at hat time in my
life, gently pushing and pulling them in different directions.
Do you use software for sampling or have you also
used hardware for sampling? I ask this because of your crea-
tive loop technique.
I make custom plug-ins to fold and resample my guitar in diffe-
rent non-linear ways. It gives me more control over the sounds
that I’m able to produce.
www.christopherwillits.com
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Maybe a boring question at first sight, but how would
you describe your music? I really had difficulties to put it in
a drawer when I told a friend about your album, finally I said
organic electronic music.
Good question. It’s so hard to put names on this stuff. The avant-
pop tag seems to work pretty well. Organic-electronic is ok too
I think. I love it when people try to find new words to describe
stuff they are hearing. We need more words to fill the gaps bet-
ween the tags of experimental and ambient and pop and indie
rock and electronic.
What‘s behind the fact that you repeat the same ly-
rics in a different sound during different tracks?
There are ideas of evolution, colors shifting, truth, honesty and
hope woven into all the songs, so there are elements that are
naturally repeated in different tracks.
What do you need for a perfect day?
I don‘t think I need anything really. I love to meditate, and lucki-
ly you don’t need anything but your body to make it happen.
That’s how I start my day. And I make some tea and then I get to
work on some music or some software stuff or responding to a
great interview like this.
But sometimes the weather is too nice in San Francisco and I
need to go to the beach with a friend and a picnic, or go to Do-
lores Park and hula-hoop or play kick ball and garden strange
looking plants.
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DJ „The label is known

for a certain type of

0
Bone 100 200 300 400 500
style. But deep in
their heart these
artist want to make
Detroit some Detroit music.
They want to make something that sounds futuristic. But no one‘s gonna release
it. But we are gonna release it because we are not afraid. So what we did is we
USA
took the people who have the best sounding music, Detroit-wise, and futuristic
and took a chance and kept it funky.“
Cuemix 05 The Science Issue
76
DJ BONE
„The people should get a real good DJ for the
money they pay. They should get the best DJ
possible. Not the best superstar or business-
man or gimmick.“
Ok, let’s talk about your new CD Parts Unknown -
Subject Detroit Volume 3. First thing I remarked when I pul-
led the CD out of the mailer was that you can see the skyline
of Detroit on the sleeve. Is your CD a kind of statement about
Detroit and the roots of Techno which are connected to this
city?
Yes, the whole idea was to put to gather songs from different
people and mostly people from Detroit and outside Detroit.
And that’s why I put the skyline of Detroit in the background of
the artwork. But if you look you can see all these small almost
like spaceships and that represents the people who contributed
songs - almost like an invasion into Detroit. But it’s like a friend-
ly invasion because they‘re basically coming because I asked
them to. So it’s like, “Ok, then we‘re coming to Detroit,“ and I
think they have some pretty futuristic music and especially it
was all tracks that no one ever heard before. That is definitely
futuristic (laughing).
So all tracks are unreleased dubplates. Are all tracks
done by people you know from your experience as a producer
and DJ? I mean people you maybe call friends?
Hmmm, some of the people I knew for a long time, but a lot of
the people I have never contacted before (smiles). But I liked
their music. And some people are people who‘ve just been sen-
ding me CDs for about maybe two or three years, demos and I
saw that no one was trying to help them and so I put the songs
I liked on the CD.
I also wondered that you have on the first disc 23
songs and on the second 31. Is there a kind of concept behind
it or did it happen by accident? I mean maybe you ran out of
time during the session?
Hmm, basically I wanted to put all on one CD (41:37) and when
I started to do the mix - it’s a three turntable mix - I found were
they really readable; they were very melodic so it was always
the same to play three songs on top of each other when each
song is so good. But you have to do it in a way that you can let
each song play for a while and people can hear it. In order to fit
all songs I have to do it on two discs. So I just decided to split it
at a certain point and started a second mix… So when I looked
at the time during the recording session I thought, „No way, it
would be unfair, because you just hear thirty seconds of each
song!“ The people should have enough time to pick their favou-
rites.
You said you mixed the CD with three turntables, do
you always work with three turntables?
Yeah always.
So did you have any „rehearsals“ before the mix or
was it a spontaneous recording?
It was spontaneous. Basically I just knew the songs so well from
listening to them when I picked them, you know. I just did the
mix. I cannot figure which songs fit together and made it hap-
pen that way. It’s kinda like when I go out, I do it spontaneous
as well because I don’t wanna play the same set twice. You know
the world is small because of the internet, people can get online
so when you play the same set for three gigs people know it im-
mediately ...
Ya, I saw your weekly mixes on the internet; they call
it attack mixing...
(laughing) Yeah, the reason to call them attack is, a lot of people
emailed me or talked to me in the chartrooms that they couldn’t
find any DJ Bone mixes, you know, only one they could find were
the Subject Detroit Volume 1 up to 3. And I don’t really have too
many mixes out on the internet. It wasn’t on purpose. It’s just I
don’t allow people to record my sets most of the time. There was
just one thing I was really upset with the whole state of Techno.
It’s just too political and too much to do with the publicists, the
press and everything. I just get upset and made three mixes and
I took one and sent it to my friends, and they said, „You should
put them online.“ And I said, “Ok when I would do it I do it once
a week! (laughs)“ And so I decided to talk before the mix and
let them know what I am angry about and that’s my way to get
my frustration out through the mix, you know. And it’s funny
because since I’ve been doing it I receive emails from certain
people like Sebastian Kramer, Claude Young and they feel the
same way I feel. I was so thankful because I didn‘t think that
anyone else felt this way.
So you feel limited by the things which are „In Style“
in the Techno scene?
No, not through what is „In Style“. It‘s the process for a DJ now...
you know an artist is not an artist second and a businessman
first. He is an artist first - that‘s the difference. When I started
DJ‘ing pretty much every month overseas, what happened was
when all the magazines were around the promoters get lazy.
They wouldn‘t try and check to see, find out who‘s a good DJ
anymore. They left the magazines to tell who is the DJ so even
a guy isn‘t a good DJ, they booked him.  And then they get to
a point where they couldn‘t go back and book just a great DJ
because they have to pack the club and make that money. And
all the way they could do it was with the big names. The booker
created those big names and the people trusted the promoters,
because they say always he is a great DJ. So it doesn‘t matter
if we don‘t know him.  People who really have spill don‘t play
and the people who play just made one hit record which every-
body knows and they aren‘t good DJs. The people get cheated
because that person who they go to see they know that they are
known for certain things, so why should they change what they
The Science Issue Cuemix 05
77
do? They‘re not trying to progress. They not trying to be futuri-
stic. They‘re not gonna take a chance because they are scared
that the people don‘t like it because they are not used to it and
they don‘t get booked anymore. The people should get a real
good DJ for the money they pay. They should get the best DJ
possible. Not the best superstar or businessman or gimmick
(laughing). You know it‘s a shame and that‘s the reason why I
operate with the attack is to reach the people. Because if en-
ough people listen to the mix and say, „I like that,“ then they go
to the promoters and say, „Why don‘t you book this DJ?“ and
then the promoter has to book the DJ. So we go around the pro-
moter. Because if you go to the promoter and ask him about
your mix he will say „Yeah we love this mix but you don‘t have
a big enough name!“  People get upset when they can‘t play. I
do too. But see the difference with me is I do something about
it. Instead just sitting there and just complaining I actually do
something. I try to eliminate the problem.
Laurent Garnier is telling a story about the first time
you both met in his book Electroshock...
Yeah (laughing), it‘s a funny story. He is a great guy and
I didn‘t even know him before that and he didn‘t come and say,
„Ok who is the most popular guy in Detroit?“ He just said, „Take
me to the clubs. I wanna hear the best DJs,“ and he said eve-
rybody he asked said, „You gotta hear Bone, gotta hear Bone!“
(laughing). Laurent is one of the best three DJs in the world.
Do you still have contact with him?
Yes and the good thing is he didn‘t act like a famous person.
We keep in contact like friends. I really appreciate what he had
done and actually  have a project that we‘re gonna work on in
the future that I am coming up with called „Subject Detoit Glo-
bal“. It‘s a global mission. He‘s (Laurent) gonna have a hand
in that. The concept is we had a lot of people submitting de-
mos - people who are truly artistic; people who release music
on other labels, you know. But what they release is what the
label usually sounds like. The label is known for a certain type
of style. But deep in their heart these artist want to make some
Detroit music. They want to make something that sounds futu-
ristic. But no one‘s gonna release it. But we are gonna release it
because we are not afraid. So what we did is we took the people
who have the best sounding music, Detroit-wise, and futuristic
and took a chance and kept it funky. So we will put this record
out with artists from Scotland, Japan and France and the good
thing is that they didn‘t sound like the things they released be-
fore. All these people contacted us like „Look I like to make De-
troit music, but no one will release it.“
Cuemix 05 The Science Issue
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Curriculum
BONE
DJ
Will „Subject Detroit Global“ be released as a compi-
lation?
We gonna do a release on vinyl with their songs to start. And
then we gonna do a compilation. We also do a tour so we can hit
the first spots with these people and might set up a whole new
situation for them in their hometowns. To take a risk like that,
we have a lot of aliases now. So we can say, „Ok we wanna do a
Subject Paris night“ and it‘s gonna be not a typical night and it‘s
gonna be weird and different.
No well known club would let us do it. The Rex won‘t do it. So
we find a nice small place and do something very unusual and
put all our efforts behind it. So maybe it will grow into a monthly
thing in the future. We also gonna have promotions to help peo-
ple in the poor areas, like in the suburbs of Paris.  So wherever
the poor people are, these certain things we can do to help them
or get them interested in electronic music to get them off the
streets hanging around.    a show in Paris: After that I also have to keep working on the
You told me that you work with three turntables,
right from the start or how did it come to this?
It came. I started with two. Really old turntables they even
Vitae weren‘t Technics 1200. They were just old Technics. They had a
pitch control but it didn‘t work. So you had to use your fingers
to speed it up or down and they were belt-drives so sometimes
the belt inside slipped and they came off and the record player
didn‘t work. So you had to open it and put the belt back on and
close it again and this in the middle of a mix (laughing).  So I
learned how to DJ on two real horrible turntables and then one
day I had enough money to get two 1200‘s. Once I got them it
www.discogs.com
The Science Issue Cuemix 05
79
was like I was cheating because I was used to work under the-
se bad conditions. Everything was so easy now, you know, and
then I got a third turntable that I bought from some friends. But
I guess it must be stolen because I paid about 30 Dollars or it. 
So I added the third turntable and started practice, like six hours
a day. That was for about good four years straight.
But you started as a DJ in the end of the 80s?
Yes it was ‚87 or ‚88 when I had these bad turntables (laughs).
And when did you start to produce your own tracks?
Hmm... it was 91/92. Everyone overseas kept telling me, in or-
der for you to get bookings you have to put records out and for
me that didn‘t made sense. I said, „If I am a DJ what difference
does it make how my music sounds? It matters how my mixing
sounds!“ and they said, „Yeah, but that‘s what the people buy.
They buy your records. And the promoters will look how many
records you have out.“ In the beginning I was booked every-
where you can imagine: Berlin, London, Paris, everywhere. But
then, as I told you before, the magazines took over. So I had to
start to release my own tracks to play the game. But don‘t un-
derstand me wrong: to release tracks is a good thing, but first
of all I always wanted to be a DJ. Anyway people told me to put
records out and so I started with very basic equipment - with an
Ensoniq EPS 12 and a tape machine.
What comes next after the release of „Subject Detroit Volume
3“?
In the next few weeks I will do some shows here and then I have
„Subject Global“. There‘s a lot of work waiting for me. I also
dream to open up a small restaurant where you can listen to
good music (laughs).
What do you need for a perfect day in your life?
That‘s a good question. A Marvin Gaye song in the morning, a
beautiful sunrise, no crime, be with my girlfriend and have a
nice dinner in my favourite restaurant and then having a nice
gig. The gig has about 20000 people but the club has only room
for 2000! (laughing) So we have to interview the people about
their feelings about techno at the door and only the real people
come in (still laughing) ... that would be perfect.
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80 81

USA

Un d e r g r o u n d

Resist
Jeff Mills

Mike Banks

0
ance 100 200 300 400 500
Ex

Andre Holland
Cornelius Harris
DJ Dex
Drexciya
Frankie Fultz
Galaxy 2 Galaxy
Detroit Gerald Mitchell Members
G h e t t o Te c h
Ja m e s Pe n n i n g t o n ( a l i a s Su b u r-
ban Knight)
Marc Floyd
M a r k Ta y l o r
Milton Baldwin
Perception
R a p h a e l M e r r i w e a t h e r s J r.
Santiago Salazar
Timeline
Cuemix 05 The Science Issue The Science Issue Cuemix 05

82 83

„I think every sane

person has thought 1989

about leaving 1992

Detroit.  But what Resistance

makes this, and any, 1999

city are not the pro-

blems it faces,
but the people who fight to create a new reality in the midst of 2007
one that denies them at every step. „

Un d e r g r o u n d

Detroit
Cuemix 05 The Science Issue
84
USA
0.328
Detroit
I saw an advertisement for Underground Resistance
which shows a totally run down house and the words „ no hope,
no dreams, no love, my only esacape is underground“ some-
where in Detroit. I know that Detroit lost a lot of its townsfolk.
On the positive side Detroit isn’t anymore the leader in terms
of criminal statistics. So how‘s the situation in Detroit? Is get-
ting better in the last few years? Your point of view: what’s
missing in Detroit?
Detroit was never as bad as many people wanted it to be. There
were other cities that quickly succeeded Detroit as the nation‘s
„murder capitol“ yet for some reason those cities were ignored
while Detroit was paraded like a felon for several years after the
„crime“.  Detroit was hurt more by ignorance and mismanage-
ment more than anything.  We‘re still missing proper represen-
tation even within the city limits and lack of mass transit keeps
people prisoners of their blocks unless they have the means and
resources to own an automobile and all the insurance and fees
that go along with one. The closing of auto plants, the number
one employer in the state, point to even more trouble ahead.
In nearly every Interview people ask you about your
influences and the history of Techno. So we all know that
you´ve been influenced by the sound of Kraftwerk. But I really
would like to know about your feelings when people name UR
or especially Mike Banks as one of their major influences?
It depends on what people you‘re talking about? Of course it is
always a great compliment when anyone cites UR directly as an
influence. But my greatest feelings come from the kids that we
coach baseball to here in the city. They look up to us and I can
see us in them as they struggle to win with everything against
them. We are a different role model than the traditional blinged
out dopeman. They make me feel necessary.
A few weeks ago I met a guy who is about ten or
twelve years younger than me. We discussed a little bit about
music and we also talked about Underground Resistance. He
told me that he was always a little bit scared by the (hope you
don’t get me wrong) militant and unapproachable attitude of
UR. In our discussion I couldn’t agree and couldn’t disagree
with him... But I really want to know what‘s behind this unap-
proachable attitude?
It’s the age old subliminal fear of black people who don‘t assi-
milate completely. I relate it to some peoples fear of cats becau-
se they aren‘t completely tame. The question is something you
have to ask yourself.
Is it a protective barrier against the monkey-(music)-
business?
I have a question for you: you say you „couldn‘t agree“ with this
guy. Why? Maybe you already have part of the answer to the
question. If we we‘re so „unapproachable“ how is it that you ap-
proached us. Personally, I think some people want to be scared,
for a lot of different reasons, regardless of what the reality is.
If you allow me to compare the attitude, when I think
about UR I must think of Public Enemy. How do you feel about
the fact that some people call you the Public Enemy of Tech-
no?
We have said nothing. Our records contain very few vocals. It‘s
true both Jeff and myself very much admired Public Enemy. But
again we don‘t say enough for people to make these compari-
sons. So I ask again is it your own fear that creates these com-
parisons to such a formidable sound/stance as Public Enemy.
Hi -tech Jazz?
The name „Public Enemy“ was a bold statement about how
some might perceive a group like that? The reality was that they
were never MY enemy, or the enemy of their legion of fans. But
whatever they had named themselves, perhaps they knew how
some were going to portray them. So maybe some have similar
perceptions about UR, especially in light of your previous que-
stion.
I’ve read Laurent Garnier‘s book last year. After I’ve
read it I came to the conclusion that I’ll never understand the
feelings and the „spirit“ of techno before visiting Detroit. But
don´t get me wrong: I don´t expect that I would come to this
city and at the airport big letters will welcome me with „Wel-
come to Techno City“. I mean to understand the feelings and
the vibes of a city where artists started to create this music a
long time ago. Do you think my thoughts are too childish?
You‘re thinking too much. Do you have to be born
in the 17th century to get the „spirit“ of classical music?  Do I
have to be born on a plantation to understand the hymns that
came from those experiences? Yes, there is a difference, but mu-
sic takes on new life every time someone hears it. My love of
jazz has nothing to do with New Orleans, even though I respect
that city as its birthplace.  If you want to study what happened
in Detroit several years ago, yes, that is significant, but if you
weren‘t there, you weren‘t there. We are more concerned with
creating new experiences and memories rather than despera-
tely trying to duplicate something that cannot be duplicated.
Find your own inspiration.
So many artists left the states and moved to Berlin.
Do you ever think about leaving Detroit? Or even if I leave
aside the fact that you are rooted with this town through your
record label and the music. Do you love the town also as a nor-
mal genuine citizen, I mean not just as a musician, producer
and label owner?
I think every sane person has thought about leaving Detroit.  You have a lot of friends in Europe, artists like Lau-
But what makes this, and any, city are not the problems it faces,
but the people who fight to create a new reality in the midst of
one that denies them at every step.
Living here in Detroit is an obvious inspiration but the people
are what make a city to me. The struggles and joys of everyday
life. I get inspired by my imagination, hopes, dreams,etc. And I
1992
1998
2003
D E T R O I T. U S A
The Science Issue Cuemix 05
85
am also inspired by the energy generated by what we do. When I
see the kids running around Submerge happy and free going to
school and playing with our keyboards changing the programs
and shit!! That makes me inspired! When I see all the beautiful
people that work here at Submerge meeting discussing music,
business, shipping, mail-order,etc. That‘s inspirational. I ima-
gine, „Wow this is what Motown must have been like!“ When
people come from all over the world to the North End of De-
troit and sign our wall in the store that‘s inspirational. When
sometimes I can‘t think of where the money will come to pay
another bill and all seems lost and I worry about trying to keep
what we have worked so hard to create here I look at that wall.
And man I am blessed.......................so many words of inspira-
tion from people from far away and here at home!! With all that
love you can‘t stay down long. It is very inspiring that wall and
the people of this city they both create a lot of music!
When you look back the last fifteen years in your life,
what would you describe as a major change in your life? Good
or bad..Do you become smoother/softer with the experiences
of the last years?
InterStellar Fugitives Two „The Destruction of Order“ for those
who know. Change is the only constant. Some things get better,
some get worse
rent Garnier and Marco Passarani... Do you remember your
first journey to Europe and your feelings about touring
through this continent? And today, in which  countries you
have more fun to perform live? Is there a difference between 
Europe and the States?  
EVERY place is different.  The same club on different nights is
Cuemix 05 The Science Issue
86
different.  A significant percentage of the US is made up of peo-
ple who left Europe for various reasons, so I was very curious to
see what had happened to inspire people to cross an ocean to
escape. I have told many people of European descent that Eu-
rope is a nice place and they should go back, that it‘s okay now,
but they never listen to me.
Is there a special place/town you like most in Euro-
pe?
There is an old Asian saying: the river does not belittle the
mountain because he cannot move, and the mountain does not
belittle the river because it moves slowly. Each has its own ap-
peal and is special in its own way.
Just one technical question. How you feel about the
new production technologies? I mean do you think it’s an ad-
vantage to put a whole studio in a laptop or do you think the
music suffers? What do you prefer most?
Technology frees people and helps them to escape the chains. If
it wasn‘t for the invention of the „Cotton Gin“ I would probably
be in Mississippi still pickin cotton for Massa!!
In the beginning of this year you performed for a Tsu-
nami Charity in Belgium. I’ve sometimes the feeling that the
people forgot too fast what happened about a year ago. Do you
share this feeling with me?
Cornelius „Atlantis“ Harris>>> People have a tendency to want
to be „cool“ and „aware“ and unfortunately global tragedy has
become another commodity that is sold until it is no longer
USA
2.901
Detroit
considered cool. On the other hand, in the past, no one on this
side of the world would‘ve cared unless they worked for Nati-
onal Geographic. Even if the attention is short, it is more than
what would‘ve happened in the past. I guess we have mass me-
dia to thank for that.
I know that you invest/spent a lot of your money in
social projects in Detroit. Can you tell me a few details about
your social work? Do you have the feeling that you can affect/
change the situation with your engagement? Do you see some
„fruits“ of your work?
Cornelius „Atlantis“ Harris>>> Of course you can affect and
change a situation, but the biggest enemy is ego.  We may not
know how someone benefits. We may not see the fruits because
some of our fruits are not so obvious. Sometimes the work is
more significant than being worried about the outcome.  Black
Americans still face discrimination and worse on many levels,
yet if we were worried about this 500 years ago, decided things
weren‘t going to get better and gave up, things would be a lot
worse. Sometimes you fight even if you know you‘re not going
to win. Sometimes you fight for something greater than your-
self.
What do you think about the fact being a famous per-
son. Do you feel alienated when people treat you like some-
one special?
Again famous in the eyes of who? Most people in Americas in-
ner cities don‘t know who the fuck I am and probably never
will. So therefore they have never felt our message which is
vital directions needed by them to have hope and a future. So
we have so far failed in our attempt to reach them in any signi-
ficant numbers thus our work continues although we are glad
that this message was heard in other parts of the world with like
circumstances. It‘s strange when larger companies approach
us to „help us sell more records and get MO POPULAR“ and
their contracts have for a territory „The World & The Universe
known and unknown“ and we ask them „what‘s your inner city
USA marketing plan??“ They have a dumbfounded look on their
faces and of course they don‘t have one. They only want to sell
the records to a market we created. Fuck the inner city! It‘s al-
most as if we are smart enough to make and pioneer music of
this caliber but at the same time too dumb to listen to it.
You won the fight against Sony... Do you think the in-
dustry learned something from that?
Yeah fuck with us and feel the wrath of some fearless
„Fiber Optic Commando‘s“. Of course UR doesn‘t command
them but they are fans in the most fanactical sense of the word.
Proceed with extreme caution. More often than not, the major
labels are an example of extreme ignorance. Sony and BMG
used „Jaguar“ to establish business relations and later they mer-
ged into the monster it is now. While they SHOULD be learning
from their mistakes, they are excellent at repeating the same
foolishness that they have for years.
One of the statements of UR is „we created tomorrow
and live in your imagination - we will never die“ . . . When I
first heard this statement (you maybe laugh about my questi-
on)  I asked myself that the people who created this statement
must be kind of religious people (yes, sounds strange but that
was my feeling.). Or to be more exact, are you a religous per-
son?
If that means that many of us believe that there is something
greater than us as individuals, then yes.
We are layin‘ musical landmines. You may see „the light“ when
you step on one.
 
What will happen on Submerge in the next few
months? And also are there more plans about touring? Can
you tell me a few words about the forthcoming Galaxy 2 Gala-
xy - A HighTech Jazz Compilation?
The G2G is a compilation of classic G2G songs plus some new
stuff to keep things fresh.  As an example of hi-tech jazz, it ser-
ves to remind people of the power of jazz as an artform that is
based on exploring the frontiers of musical expression.  Co-
ming from UR, it also serves notice that this is a label that is
not looking to conform to any particular stereotype of music
(techno).  This G2G release represents UR‘s past, present, and
future.  Then there‘s the Interstellar Fugitives 2 release coming
very soon.  It‘s titled „The Destruction of Order“ and promises
to do just that.
 
CM>>> On the submerge website I saw that you also can or-
der artwork. Can  you tell me something about the artists Abdul
Hacq and Gustavo Alberto Garcia Vaca? Do you see a link bet-
ween art and techno music? I mean  sometimes I´ve the feeling
that through the mistakes of the major labels people forget that
techno or electronic music isn’t just partymusic or so called
„consumer“ music.
Science fiction is a form of writing where the author often uses
the future to comment on the present.  Many of these artists
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87
also use a type of science fiction, so their art, while often consi-
dered futuristic, also comment on what‘s going on in the here
and now.  An artist can use paint, canvas, keyboards and MPCs
or a pen to create art.  No real link, they‘re the same thing using
different tools for different effects.  
It seems many people just see Mad Mike as UR. This
is misleading and must be frustrating to you.  Would you like
to give a run down of current the UR members and their roles
within UR to help stop this misconception?
As a collective, there are a LOT of people involved.  Some of the
key folks currently are Gerald Mitchell, songwriter supreme,
Santiago Salazar aka DJ S2, DJ Skurge of the Aquanauts, band-
leader Raphael Merriwethers aka the Unknown Soldier, and
more. Some of the guys work on more conceptual stuff rather
than music, but for a group like this, that is very significant.
Visual artists like Abdul Haqq, Frankie Fultz and Chuck Gibson
bring a lot of concepts to life with their work and sometimes
the music plays off that. Mike is a founder of the label and has
been a constant ever since, so it‘s natural that people will look
at him, but no man is an island, and UR has never been a one
person operation. Most of the misconceptions are the result of
writers choosing to present their preconceptions rather than
showing the depth of talent on the label.
How do you feel about the execution of Stanley „Too-
kie“ Williams?
Why didn‘t Charles Manson or none of his cult family mem-
bers get executed? What‘s the difference between them and my
man? They cut a baby out of a woman’s stomach while she was
still alive! Nobody showed any remorse for that shit!!
Amen!
 
What do you need for a perfect day in your life?
The Big Payback. James Brown. More Bounce to the Ounce.
Zapp
www.undergroundresistance.com
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88 89

Q-BIT „The first thing I’ve

FLEXE
>The
noticed when it
GEORGIA
came to the release
of your last album

Flash “Flexing Habitual“

was the short film

Bulb on your website.

It shows the harbour near Chicago and
a lonesome microphone together with a
breakout box and in the next scene you
stand behind the mixing desk. The
HUMAN ACTION NETWORK

USA
music in the background is the wonder-
ful track “Birthday Colour“. A really quiet
Benn Lee Jordan and peaceful scene, then the music turns
ACIDWOLF
DR. LEFTY

into breakcore sounds and hectic

graphic elements ... I watched this short movie again and again
because of its beauty and antagonism. Then I come to the conclusion that this short film
is kind of a visit-card or better it tells more than any biography about you. Every track you
made owns these beautiful elements, I mean these warm synth, guitar or formant sounds
and on the other side your tracks also own these disturbing and scary elements. What do
you think about my strange theories?“
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90 91

Releases

Flashbulb

Red Extensions of Me
Sublight

2.000
M3
Metatone

We l c o m e To C h i c a g o
(as Human Action Network), Alphabasic)

Flashbulb
Cuemix 05 The Science Issue
92
THE FLASHBULB
„I’d say that the only element that has noticeably
affected the way I write music is the weather. It’s
usually nothing that I can point out.„
10
I think you’re probably right. The video was actually a more
scenic recreation of how the song was made (by playing a soft-
synth on a beach that was modulated by the waves through a
little stereo microphone).
If my first question failed, forget the next one. But
can it be that the thing I noticed in your music and in your
short film describes a part of your personality?
Definitely. Without attempting to accomplish the effect, my
creative output is always an exaggeration of my personality. I’m
diagnosed bi-polar, but I’m starting to learn how to use it a little
bit more wisely in my music. I’ve been trying to set out certain
tasks in composing and recording scheduled around where my
mind is in a particular day. Hopefully the result will be albums
that are just as diverse in melody and sound, but the theme will
be less vacant.
It’s no secret that me English ability is really weird,
when I translated “Flexing Habitual“ or better say tried to
translate it. I understand that the title means something like
someone’s bends or deforms things because he’s addicted to
do it. Now you may laugh about me. Can you explain the title’s
meaning to me?
Your definition probably made more sense of the name than
an American person could make of it. The album, to me, is just
embracing the genre of music that I’ve made over the last de-
cade. It’s part masturbation and part addiction. Honestly I’ve
haven’t been excited about Amen breaks and spastic DSP for
years. It was starting to become more of a contest than a colle-
ction of creative compositions. That is Flexing Habitual. A mi-
stake where I went too far, but the output is still something that
I find accomplished enough to enjoy listening to.
When I finally received your album “Flexing Habi-
tual“ and put it in my CD player was the fact that the mes-
sage “IDM DIES NOW“ appeared when you listened to all ten
songs. What’s behind this message? A joke or a statement..
It’s a tongue in cheek statement. Most of Flexing Habitual was
written over 2 years ago. In the beginning of 2005 I stopped
using computers and started working on Reunion and new acid
stuff, and I haven’t gone back to “IDM” since. I think IDM was
a great journey that’ll lead to bigger, better, and more success-
ful musical endeavours, perhaps a transition to the future of
how we hear things. Last year’s billboard charts were filled with
songs that would be considered IDM or experimental 5 years
ago had they been instrumental. So I guess what I’m saying is,
IDM isn’t as much of a genre as it is a definition for the way a
producer uses his tools.
You use a lot of classic synth sounds as a bearing ele-
ment. From where comes this bias to these sounds? You might
laugh but these sounds give me a “save“ feeling in music...
I suppose sometimes things get a little bit too bizarre sounding
and I need some form of cliché to satisfy myself with. It’s also
just simply quality for me. I rarely find a sharper or more effec-
tive snare sample than one I can make on a TR-808 or even ne-
wer synthesisers. A lot of those cliché machines still stand on
top of my arsenal for creating a sound that I find desirable.
I talked last night to a friend of mine who also is a
musician, after our conversation I had an uncertain feeling
about the process of creating music. May I be allowed to ask
you a personal question? I would really like to know what kind
of feeling you have when you finish a complete album. Do you
feel kind of satisfied or unsure? After all, what would you call
the moment when you feel “paid for your efforts“?  An email
where someone writes you that he loves your music? A good
review? A crazy moshpit when you perform live? Or the crea-
tive process in itself?
I always go through the same scenario when I finish an album.
I’ll be very satisfied with it until about a week after it starts being
promoted and pressed. Then a half year later I’ll listen to it and
appreciate it again. It’s hard to say what pays off though since…
while it is hard work; it’s what I’d be doing as a hobby if I wasn’t
making a living off of it. I suppose being able to make a living
off of what I do happily and naturally is all the success I could
ever desire.
In my opinion “Flexing Habitual“ comprises in my
opinion “winking“ moments paired with kind of melancholic
melodies totally different to the classical moments of “Kirlian
Sections“. What influences your music mostly? Things you ab-
sorb from the outside like the news etc., or your feelings from
inside of you... or is it a mixture of both?
I’d say that the only element that has noticeably affected the
way I write music is the weather. It’s usually nothing that I can
point out. Until recently I’ve never written a song about a girl, a
death, or something specific. I think what keeps me going cre-
atively is my inability to express myself in a way that could be
therapeutic.
Amen Iraq is one of your newer tracks. What do you
think about the executions, which took place in Iraq in the last
few weeks? An eye for an eye, a tooth for a tooth? ... Or do you
think that mass murders can’t be punished with an executi-
on?
A paradox of corporal punishment is that under its own rules,
the person sentencing someone to death should be put to death
themselves. I don’t think death is justifiable in any scenario, so I
don’t agree with the executions.
I think a lot of times we forget about how fragile and imperialis-
tic our world is. Of course I think our violent presence in Iraq is
wrong, and I’m almost positive that this war is the United States’
The Science Issue Cuemix 05
desperate effort to take control of the oil market. But on ano-
ther hand, without a solution for the energy crisis our economy
could eventually collapse and thousands, perhaps millions of
innocent people would starve to death. It’s a delicate balance
where there is no right or wrong decision.
But what was the impulsion for you to create this
track?
I guess the impulsion was in its title. It uses eastern melodies
and the Amen breakbeat. I finished it around the time when the
US started invading Iraq, and while the politics didn’t influence
the song itself, they influenced the title.
Your music is often based by kind of classic guitar
melodies, which are partly played by midi guitars. Was the gu-
itar the first instrument you’ve learned and owned?
My first instrument was a cheap classical guitar that my step-
grandfather bought me at a state fair when I was 4 or 5. I have
no idea why I wanted it so much, but I threw a tantrum until he
caved in and bought it for me. The guitar is as much a part of me
as my arms and legs are. I can’t even imagine not knowing how
to play it. I use MIDI guitar as a controller for a lot of the sounds
in my music, recorded and live.
You also play Jazz guitar and drums, are you still ac-
tive in this genre?
I practice a lot and occasionally perform off the map in an im-
provisation group or small jazz club. Jazz performance is extre-
mely challenging and it helps me improve myself creatively.
You’ve been raised by your grandparents in Chicago,
where your grandparents kind of artists or musicians? Or who
brought you in touch with music?
My family was very blue collar and inartistic, so music was al-
ways something I had to explore on my own. However, I was
raised in a very ethnically colourful neighbourhood that was a
melting pot for culture in the 70’s and 80’s. So I was exposed to
everything from Latin music to jazz to Middle-Eastern music
from the beginning. There were never any big trends until the
90’s because everyone I knew came from a completely different
place in society.
And when do you owned your first synthesizer?
In 1993 or 1994 I started saving up and buying synthesizers to
accompany my guitar playing. I believe the first real electronic
Cuemix 05 The Science Issue
94
Benn Lee Jordan
S E T- U P
instruments I owned was a Roland DR-660 drum machine
and a TB-303, both of which I originally bought to emulate a
bassist and drummer.
You work under the moniker Acidwolf and release
Acid tracks, you work a lot with the classic Roland machines.
Am I right when I say that you adore Acid music?
Totally, it’s in my blood. It’s the first type of electronic music that
I made and I’m really happy that it’s made a comeback. Finally I
don’t have to beg labels to release my acid stuff!
Is this a result of the fact that you live in Chicago?
ROLAND- TB-303, TR-808, TR-909, SH-101, GK3
I’m sure that plays a huge role. When I was a teenager there was
only one type of electronic music where I lived, and it sounded
like what we call “acid house” today. There was no drum n bass
or trance, if you were going to dance; it was always to an acid
record.
Symbolic Sound Corporation - Kyma
In nowadays I am really uncertain if I ask a musician
Reaktor, Guitar Rig, Kontakt
that question, but I think I ask the right person this time: Do
you use hardware instruments when you produce music?
Eventide - H8000FW
For sure. I’m not against computers, of course. But na-
turally I think I’m more comfortable with a hands-on interface
than I am with a monitor and piano roll. I won’t limit myself to
one realm though. I guess the key is to make the best of what
you have. I know a lot of artists who make amazing music on
Studio nothing more than an old laptop.
Which kinds of hardware instruments do you like
most?
USA
People never believe me, but all of my Flashbulb albums up until
“Red Extensions Of Me” were sequenced using a Roland JX-305.
The Science Issue Cuemix 05
I’d still use computers for mastering and FX, but all of the com-
position was done on a 2-line colourless LCD screen. Of course
I still fancy anything in the Roland x0x series and the ease of an
Akai S2000 sampler. For effects I’m attached to everything from
TC Fireworx processors to cheap Japanese tabletop units.
A lot of releases been done by the Canadian Sublight
label. From where do you know restless Aaron Rintoul?
When “Red Extensions Of Me” was delayed by a big-
ger label, I chose to release it regionally with different smaller
labels. A friend of mine introduced me to Aaron, who was just
approved for a business loan to start a record label in Winni-
peg. I haphazardly signed a regional deal with him for North
American sales of the album. When the album came out, Aaron
immediately impressed me with his professionalism and de-
dication. I told Aaron Funk (Venetian Snares) that he should
meet Aaron Rintoul, as he had done a great job expanding my
distribution. The rest is history.
When you finish an album or some tracks, which
people are allowed to criticise your music? Or do you prefer
to finish and release them without any critic?
I don’t mind criticism as long as it’s genuine. A lot of it
comes from jealousy or biased opinions. I get criticized left and
right, but only a fraction of it is actually something insightful
that can be used constructively. I’m more likely to seek valida-
tion with mixing and mastering if I’m unsure of how something
sounds, and I have a couple friends that I’ll ask advice from.
Let’s talk about Dove’s “Campaign for real beauty“.
How did it come to the fact that you created the soundtrack
for the film?
It started as licensing the song Passage D through Vapor Mu
Cuemix 05 The Science Issue The Science Issue Cuemix 05

96 97

10
Curriculum

Lee Jordan
Benn
sic Group, and then we just went through a series of edits and can easily appreciate its history. If a joke fails to make someone
tweaks for the film. laugh, you easily can appreciate the effort. If a woman’s fea-
tures are flawed, you can easily appreciate her singularity.
Georgia Was this campaign just a job or have you been con-
2005
September 1978 vinced did you’ve by the idea behind the campaign? The following pictures are stills from the website http://www.
Dillinger Escape Plan campaignforrealbeauty.com/
I was very impressed with the commercial and I do believe that dove USA  - unilever
there can be an art to advertising. I think it’s a great campaign
that sends out a thought provoking message. I hope they influ-
ence other large corporations to learn that there is economic
rewards in treating your potential customers like real human
beings and challenging them to think outside of the shallow en-
vironment they’ve been submerged in.

Your opinion, what is „real beauty“?

I think it’s most prevalent in imperfections. We’re all imperfect.

I can’t relate to anything that is without flaw. I think flaws are
perhaps the tiny cracks in something or someone that allow
you to see the beautiful light inside. If a building is decayed, you

THE FLASBULB

www.jamielidell.com

Vitae
Cuemix 05 The Science Issue The Science Issue Cuemix 05

98 99

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Cuemix Number 05 | The Chart Issue

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