This Friday our Friends from Brussels are doing a party with a pretty crazy lineup, check it out! We will be joining them on Thursday for a pre-party to get you in the mood!

ensemble au récyclart with Gerd LIVE (NL, Clone) & San Soda (WPH)

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◆ lineup

★ Gerd LIVE
(NL, Clone, Royal Oak, 4lux)

★ San Soda SPECIAL OPENING SET
(BE, We Play House)

★ Eklektiker (BE, Feiern, Technoir)

★ Gratts (BE, 22tracks, ensemble)

★ Kong (BE, 22tracks, FM Brussel, ensemble)

⇨ € 5 all night long
⇨ 10 pm, first dj-set outdoors
⇨ Récyclart, Rue des Ursulines 25, 1000 Brussels

Hosted by local hero LJD, you’ll get to experience 2 levels of live acts and DJ’s at night, then join us all in the notorious ://about blank garden once the sun comes up for an all day open air rave on Saturday!

Line up:

Session Victim LIVE
Aroma Pitch LIVE
San Soda
Iron Curtis & Baaz b2b
Fantastic Man
Francis Inferno Orchestra
Melbourne Deepcast DJs
Jason aka Gentle People
Gratts
Zola & Jves
Leo Krampe

SET TIMES

MDC FLOOR

00:00 – 02:00 FANTASTIC MAN
02:00 – 05:00 IRON CURTIS & BAAZ
05:00 – 10:00 FRANCIS INFERNO ORCHESTRA & MELBOURNE DEEPCAST DJS

LJD FLOOR

02:00 – 03:00 JASON
03:00 – 04:00 SESSION VICTIM LIVE
04:00 – 05:00 AROMA PITCH LIVE
05:00 – 08:00 SAN SODA

GARDEN

08:00 – 10:00 GRATTS
10:00 – 12:00 MDC DJs & Friends
12:00 – 18:00 JVES & ZOLA & LEO K

Contact info@melbournedeepcast.net for enquiries.

RA: http://www.residentadvisor.net/event.aspx?368334
Facebook: http://www.facebook.com/events/401922746505147/

Hope to see you all in Berlin!

Alongside signifying the allegiance of global stoners and the drab conclusion of the Kony 2012 campaign, Friday April 20 marked the worldwide release of Soul Clap’s debut studio album entitled EFUNK. Whilst this collaborative date was a mere coincidence, Charles Levine, half of the Soul Clap duo alongside Eli Goldstein, explains that this quirk of date held an obligatory recognition. “On 4/20 we had come back from Milan and we went back to Berlin for the day. I had stashed some weed in Eli’s room, so I got it out and rolled myself a big spliff. I went downstairs and went to the courtyard of the Michelberger Hotel where we were staying. I saw my buddy Alex who was working at reception and I said ‘Alex, you and I are going to smoke this joint and we are going to celebrate the release of EFUNK! We are going to get high and celebrate 4/20!’ So we sparked up the joint – and as soon as I sparked it up the postman arrived with a big box full of EFUNK vinyl and CDs, I shit you not!” he cackles uncontrollably, “So we did celebrate. We got efunky.”

EFUNK, quite obviously, is an amalgamation of the duo’s career and musical experience. A culmination of their production prowess, it also represents their first fully-original release on Wolf + Lamb. “To have an album that really captures a moment – our sound in our lives – that’s all we could have really hoped for and I believe we’ve done that,” divulges Levine. “I haven’t really been paying attention. I haven’t read any reviews of the album besides from the one that Mixmag did, which was pretty good, but they said that they felt that a lot of the interludes were unnecessary and self-serving. I mean, I don’t know? They might be right, they might be wrong, everyone can figure it out for themselves – but I know my mother didn’t like it. I was like ‘mum! Come on, what the fuck!’”

In terms of their artistic progression and psychological development, Levine draws parallels with the infamous Mayan doomsday theory. “I know that this Nostradamus prediction has been around forever or whatever but I think it only entered my stream of consciousness in my 20′s,” he laughs pertly. “I told myself that I was going to live without consequence until [December 21] 2012 – and then I would, you know, start roping it in a little if the world still existed.”

“And as we come closer to this date – I don’t think that it’s really accurate, but I do feel as if it’s an awakening. The older I get the more I become aware of this idea of collective consciousness – I just turned 30, it’s 2012 and I’m having a personal awakening – I feel more confident and more wise in my musical career, my musical ability and my DJ ability.”

Levine pauses momentarily, before tangentially envisioning the Soul Clap end of the world party. “We will not be playing It’s The End Of The World As We Know It by R.E.M, that will not make the cut,” he jokes fervently. “We’d be playing plenty of Parliament and Funkadelic records, we’d definitely be playing some Herbie Hancock jams – actually, we’d be playing The Power Of Love as the tidal wave comes in and wipes us all out. Where will the party be? I don’t know man.”

Soul Clap’s EFUNK is out now through Wolf + Lamb. Expect to see them on Australian shores at the beginning of 2013.

Soul Clap on the web:

Website | Facebook | Soundcloud | Twitter

Words / Tyson Wray

We are hosting San Soda in Melbourne along with Revolver Fridays this coming Friday 18th of May at Revolver Upstairs. Email info@melbournedeepcast.net if you would like to be added to the guestlist! If these records are anything to go by, we think we’ll be in for a pretty good party on Friday!

1. Nightwind – Why Can’t We

Lovely repress from a lost 80’s tune.

2. Deniece Williams – Free

Magical last track at Wilde Renate (Berlin) couple weeks ago to end the night.

3. Joe Smooth – Promised Land

Highlight of Robert Hood’s set last night at Drif Festival, Nijmegen (NL)
Never fails to give me the chills.

4. The Joubert Singers – Stand On The Word

Last track I played with my friend Gratts at Doornroosje to end a night of dutch madness. Recently repressed on Pascal Rioux’s Favorite Recordings.

5. Theo Parrish & Marcellus Pittman – Questions Comments

One of those house tracks that can make you cry not knowing why.

6. Mr. Beatnick – Sun Goddess

Most interesting release in 2012 so far.

7. Ben Sun – Victoria Park

Quality London based producer/label.

8. Barrington Levy – The Vibes Is Right

No idea why I only discovered this one but glad I did.

9. FCL – It’s You (San Soda Panorama Bar Acca Version)

Upcoming WPH

10. Cheri – Give It To Me Baby

Was hoping to play this one in Australia but Rush Hour sent me another record from the same label by mistake (which is a really good classic too though Shades Of Love – Keep In Touch (Body To Body) )

We got to witness Kevin do his thing last year and his sets are jam packed full of energy and cutting edge house music, definitely a jock worth checking if you’re in town this weekend!

Kevin has opened his bag up for us to lay down his current top 10, telling us why each record is doing it for him at the moment.

1. B Tracks ‘Specialize’ (Supply Records)

A great underground vocal house track which I picked up from Clone.

2. Okain ‘O’Clock’ (Gerd’s Deep Mix) (Tsuba)

I’ve had lots of mixes on Tsuba and this is up with the best of them. It has a similar vibe to ‘Palm Leaves’ and is just great.

3. Norm Talley ‘Innerpeace’ (TMR Classics US)

Been playing loads of Norm’s stuff lately, the last one on Dockside was awesome and this one is just as good.

4. Milton Jackson ‘Sub Rosa’ (Tsuba Limited)

This is Milton at his underground best with 2 really tracky jackin groovers and a deeper number. A wax only release of 350 so be quick!

5. Its Not Over ‘East Pointe’ (ItsNotOver)

Great melancholy melody and classic house vibe on ItsNotOver which after 2 releases is already a must check label.

6. Quell ‘Bones’ (Tsuba)

I’ll try not to fill this chart with too many Tsuba’s but I tend to play loads of forthcoming stuff in my sets. This one from Quell I’ve been playing for months & ticks all the boxes with a killer groove and melody line.

7. Ashley Beedle Presents Roots Recolutions ‘Physical Insanity’ (Narcotic)

I’ve started cataloguing my collection and came across this gem from ’95, which is the B2 on this EP. I love percussion and its got a fantastic bongo groove & strings.

8. The Carter Bros ‘I Didn’t Need You’ (Black Catalogue)

A tip from Ethyl who has an impeccable ear, the vocal on this is one of the hookiest things I’ve heard for a while.

9. Tazz ‘Worked It’ (Tsuba)

Taken from his debut album, this is a benchmark from the man from Montreal.

10. Sascha Dive ‘Déjà vu’ (Merwyn Virgo Four Mix) (Tsuba Colours)

Last but my no means least this is forthcoming on Tsuba Colours from good friend Sascha. I tracked Merwyn down on facebook and was over the moon when he said yes to doing the remix. He’s delivered 3 versions which all are amazing and this one is a real Chicago anthem with a piano line to die for. To say I’m excited is an understatement!

Kevin Griffiths on the web:
Tsuba | Soundcloud | Facebook

Can you give us a little insight into your varied background as a DJ through the 90’s that led you to starting the label? Who and what were you most influenced by back then?

I remember one of my first official DJ appearances in 1989 or 1990 at the famous Logo Club in Bochum, Germany. A friend of mine Oliver “Olski” von Felbert stepped in for Cologne based DJs Hans Nieswandt & Dirk Scheuring aka Sirius Soundsystem and asked me to try it [playing] together. What a great idea, our first DJ name was born: Son of Sirius… [laughs].

We used to play a mixture of Old School Hip Hop, Ragga, early Breakbeats & House, especially all the Nervous & Strictly Rhythm stuff. We were more the selectors type DJs and mixed up the styles, but also began to get used to mixing with the MKIIs.

Next station in my Resident DJ career was the Rote Liebe in Essen. Some DJs had one of their first appearances in Germany here, like Laurent Garnier, Josh Wink and Masters At Work.

A few years later in 95′ another buddy of mine (Steffen Irlinger) and I had the chance to start a mixshow “Treibhaus” at Germany’s biggest radio station Eins Live. That was a really huge buzz. We had all our heroes playing live in the show, like Joe Claussell, King Britt & Dego together playin´ strictly house, Frankie Knuckles, Terrence Parker, Peshay, DJ Deep, of course the german massive like Dixon, Yannick – Needs, Marc Schneider, Steve Bug and lots more.

A few well known DJs from Germany stated afterwards that they have been influenced by our show and had the chance to listen to (deeper) house music for the very first time, which is a great compliment. We played serious music from the heart with almost no moderation, but when it came to speaking we were just talking some stupid nonsense. That was really fun back then, but the best thing for me was the possibility to buy as many records as I wanted. Amazing!

So the main intention and first logical step for me to start a label was, to put out DJ mixes with music that was not chosen a lot for compilations back then.

Tell us about starting Farside as a mix compilation label back in 2000. Well before the rise of podcasts, was the aim of the label to provide an outlet for the selectors as much as the artists featured in the compilations?

Yep, it was both. The DJs had their personal free choice in selecting their stuff and my business was to clear it for the compilation. For my Mix CDs, it was also great to play a 70 minute set with 10 – 12 well selected records and mix them together live with just two turntables. I never wanted to arrange the mix on the computer. I thought the musical journey was more fresh and human.

Also, the artists on the compilations were musicians that I respected back then and released mainly on smaller labels. I also tried to leave a bit of a timeless feeling in the mixes.

What was behind the transitioning into a fully-fledged vinyl label in 2006?

The compilations were distributed by NTT Medien, where I also worked back then. The label division of NTT had to close in 2005 and I asked my friend Winni Petersmann, who is running a lovely event agency, if he could imagine continuing the label together. The transforming of a compilation label into an artist vinyl label was born. The idea was similar to the compilation biz.

A few DJ/Producer friends of mine like Matt Flores or Herb LF produced wonderful tunes and I thought it would be great to release them. Farside was always a very personal thing with more than just a business relation to the artists or designers. One aim of my Farside work was also to leave the artists with a good feeling when they would let me release their great music on Farside. A label is nothing without the input and inspiration from the musicians involved.

You may be most commonly known for being part of the duo Westpark Unit alongside Herb LF. Can you tell us a bit about how you guys came to working together and the history between you both? And are there any plans for more Westpark Unit records?

Herb and I were working together at NTT. Herb was running the NTT Record Store “Enitity Record Shop” and a small label called “Draft Recordings”. I can´t really remember how exactly we decided to produce something, but it happened that one day Herb and I were sitting together in his rough Dortmund Nordstadt studio having a beer and enjoyed jamming. We knew that we had the same musically Hip Hop related background. I used to produce for myself at home with some analogue equipment like the Akai S2000 Sampler, a Mackie mixer and PC and was really flashed by the production skills from Herb (and still am..).

There are no concrete plans for Westpark Unit right now, but who knows? What is also a bit of a reason for less Westpark Unit output lately is our time management. Herb is totally a nighttime producer, while I have become a person working or producing during the day since I have two little kids. Lately I am busy producing tunes with my homie and friend Henry L. He is a groove machine, great musician and producer and he feels music almost exactly as I do.

Apart from yourself and Herb LF, the other main contributors to the label have been other talented German producers such as Matt Flores and Henry L. How did you become associated with these guys and what does this group share in common?

I met Matt Flores through Herb. Both were busy producing 2step and Drum & Bass in the 90s and early 2000. We discovered later that we know each other even longer, as Matt was attending the Logo in the early 90s. I remember a young guy with dreadlocks MCing to some Hip Hop and Ragga joints while Olski and I were DJing. That was Matt!

Matt was working as an MC for a Drum & Bass night in Cologne with Henry aka Henree Triad as one of the DJs. Henry sent him some house tunes that he produced and he forwarded them to me. I was totally off the hook and the Basement EP was born..

Everybody who asks me what all the Farside artists might have in common is, [I say] that I enjoy having a beer with everybody involved (and I don´t have so many people that I would like to have beer with) [laughs]. What I also enjoy is that the artists know that Farside is also a platform for experiments and tunes that might not exactly fit into the beatport Top 10 [laughs]

You have clearly opted for quality over quantity with the label’s releases, with each release having a special feeling behind it both musically and visually, as well as being allowed enough time to be properly received. How crucial would you say these things are to running a successful vinyl label in this day and age?

Farside is my personal way to run the label. I love lots of different music and styles, but when it comes to Farside, I am always looking for something special. Actually it´s quite simple, I just need to feel a tune and have to be moved by the music. On the other side all of my Farside artist friends are always the first option for new Farside music. That does not mean that I want to ignore other artists. For example Orang Asli, Ron Deacon or the Offsetters sent music over in an old fashioned way and i had to release them.

Personally, I always prefer labels that have not got such a big output. There should be people behind a label with a vision. These are the labels I usually trust, because they might surprise with some special stuff and always get the chance to kick me at second sight.

Successful is not really the right word for running a vinyl label right now. There might be some labels that sell quite a lot nowadays, but most of the vinyl releases are [only] doing good when all costs are fixed.

The visual thing is important for me and the designers involved have their complete freedom for the layouts. With Farside an old friend of mine, Markus Illing, has designed the basic layout. While he is busy in his daily job right now, another great designer Ritje Dieckmann stepped in, took the basic layout and fills it with her own creativity. This is also one good reason to still release on Vinyl.

Your next record due for release is from label regulars Paskal & Urban Absolutes featuring Aniya Ouu on vocals and some amazing remix work by Mild Pitch front man Manuel Tur. What’s your feeling behind this record and when can we see it’s release?

This record will be released on the 20th of April. Paskal & Urban Absolutes are two of my favorite producers around. I play no set without a tune from them. Their style is so soulful and moving. Anyia Ouu´s voice puts “Limits” into another dimension. What a brilliant combination. Club music with a bit of a pop appeal and still cool. I have to thank them for letting me release such a masterpiece. It´s also an honor to have a bomb (actually two) remixes by Manuel Tur included. He is also one of my favorite producers with extraordinary production skills and always the right feeling for that little extra magnificent detail in his tunes/mixes.

What else is coming up for yourself and Farside this year that you’re able to tell us about?

I am quite busy with different things right now, so things happen a little slower than usual. I am planning a new 12 from my man Ron Deacon maybe in combination with Steffen “Filburt”. They are doing crazy stuff right now. Always upcoming are new things from my homies Matt, Herb and Henry and maybe a new Farside compilation… I will keep you in the loop!

For myself some things are in the pipe with Henry L & Ingo Sänger productions. DJ wise i enjoy playing some nice club gigs and keep on doing mixes for my monthly Radioshow on ByteFM. A few podcasts are also upcoming..

Pre order Paskal & Urban Absolutes feat. Aniya Ouu’s ‘Limits EP’ here.

Farside on the web:
www.farside-records.de
www.soundcloud.com/ingosaenger

What brings you to Australia, have you been out here before?

Well my little sister will study one year in high school at Gold Coast. My wife did the same in her teens and a couple of good friends just moved to Sydney, then I thought if I don’t visit Australia now I may never do!

How did you first develop your love for underground electronic music, were there strong influences from your hometown that spawned your interest, or did you have to look further abroad?

My first approach with underground dance music happened during a trip to Berlin. I think it was destiny. After finishing high school, I was on holiday for one month in late 90s and I had the opportunity to go to the best clubs, like WMF, Casino, Tresor, in their golden ages. Before that I was also into underground music, but more into the noise rock side due to my experience with my band in my teens.

Tell us about Slow Motion, from what I’ve read there is more to it than just the parties and a record label, more of a culture behind it? How did that all begin and what is your involvement with it then and now?

With SM we intend to be a serious music organisation but in the end we are just a group of friends who grew up together and evolve like everyone else. We started throwing small parties in Pescara back in 2005 and from then we’ve never stopped. Now we have a strong SM scene in Pescara and Berlin plus lots of collaborators all around.

Still on Slow Motion and the parties, how did you guys get a start in Berlin after starting out originally in your hometowns in mid-Italy? Tell us about some of the Slow Motion parties which take place regularly in Berlin?

The Berlin story starts when I moved there in 2008. I had just finished university and I was not sure if I could work with music in such a big and DJ-overdosed city just with my experience in a small town in central Italy. Fortunately, I was lucky to find the right direction straight away by connecting with the right people (who I am still in touch until now). The first party was at Tape, which just closed last week. Then we had a series of parties in legendary venues like Scala, Villa, Picknic, and Kleine Reise.

Nowadays we throw regular parties at some of the best underground clubs in Berlin. We run a monthly event called Wrong Era at Loftus Hall, the release parties are always at the crazy Wilde Renate and we just started a label night at Kater Holzig (Bar 25). Back in Italy we organize Tipografia every Saturday night, which we believe is one of the best clubs in Italy. There we have two different club nights: one is based on international acts called Retro Futuro and one with Italian acts named East Coast Disco.

As a DJ yourself, you’re known for playing an eclectic mix of genre’s including ‘obscure Italo Disco’. What do you make of most of the Italo Disco coming out of Italy these days? Is there still a strong underground culture with a lot of great underground Italo Disco music to be found?

I feel that since a couple of years ago Italian producers have made a big step in terms of quality and quantity of production. It’s like a small “Renaissance”, like the one that happened 5 or 6 years ago in France. Most of the production revolves around house but in most of them you can find explicit remains of the 80s Italian disco, italo and pop. The record market in Italy is poor but you can still find great 80s records especially by spending time going around hidden record shops small cities in or summer flea markets.

Since 2009, Slow Motion Records has released seven records which have all had a slightly different flavour yet could be found under the Nu-Disco category at large. Is there a specific direction with the label or do you simply put out the music that you love?

SM Records is set to release modern electronic music with Italian old school dance background. The different flavours come from the different artists roots. It doesn’t matter if they are disco, new wave, psychedelic or acid, the important is that you can reconise where they come from.

What do you have planned for the label for the remainder of 2012?

2012 will be a busy year for the label. We will release 3 or 4 new EPs, 2 more picture discs by Francisco (Jolly Music), start a series of one side records call SM One Shot based on Italian dance pop covers, a label compilation called Retro Futuro and our first solo album by Motorcycle Boy.

Finally, where to from now for the Slow Motion collective? Will you continue to share your time between Italy and Berlin? What else is coming up that you can tell us about?

Definitely, I love Berlin and I love Pescara, I can’t say which one I prefer most. Berlin gives us much more exposure in terms of international promotion and possibility to earn a living out of music but in Pescara we’ve created the scene by ourselves and we are extremely proud of it. By the end of spring we are planning to organise a festival called Elettronica Solare at Tipografia. It will be a 2-day season closing event full of workshops, live and DJ performances.

Franz Underwear plays in Melbourne on Friday April 13th at New Guernica.

soundcloud | slow motion records | slow motion facebook

Have you travelled to Australia before, either in our time or sometime in the future? What are you most looking forward to when touching down in Aus this week?

No, this is my first time here. I’ve already played Perth and Sydney. Perth was a bit too hot for me, but I had a great time. I played some club after the gig in Sydney and that was great fun.

What makes up a typical week in the life of SDC? What does your down time usually involve?

Either looking at useless stuff on the internet, watching Animal Cops on Animal Planet or playing games. When I’m not trying to make music that is.

With the underground electronic music scene in Belfast not being huge as you’ve mentioned previously, what initially spawned your interest in the early Chicago house and techno sounds that feature in your sets?

I guess I just like them. I don’t even know if they are Chicago house tracks, I just play them if i like them. I can’t remember the first purist house/techno tunes I got into, and I don’t really need to. If it’s a tune I like i’ll play it. That counts for playing Phil Collins, Mr. Mister and other shit too, if I like a tune I’ll play it. It can tend to annoy punters, but atleast i’m having a good time.

What is the most exciting part of Djing for you? Is performing something that you always aspired to do or was it just a natural progression from becoming known for your production work?

Yea, it’s mostly because I was a producer I started DJ’ing. I enjoy it a lot more than playing live. I think it’s stupid when producers don’t DJ, even if they are shit at it. If you perform only your live set it gets very stale very fast. I started off as an Ableton DJ, but I got so sick of the lack of spontaneity so I learnt how to mix with vinyl early last year. I like the idea that I can totally fuck up too.

Can you explain your DJ setup for those who don’t know? Do you pre plan or make special edits in Ableton prior to the show or is it all completely done on the fly?

Nah, as I just said, I moved from Ableton because of the lack of spontaneity. Yea, I was doing loads in Ableton when I was using it. Tapping in drums on the fly, looping random parts of tracks with other random parts of other tracks, but it just got really boring and it was pretty much impossible for me to fuck up unless my laptop crashed. I prefer to just step up and see what works and what doesn’t. Nowadays I use vinyl on the turntables and Serato with the CDJ’s.

Touching on your album The Pathway to Tiraquon6 for a moment.. When sitting down to listen it sounded very much like you were sharing an intricate story from start to finish, not dissimilar to a novel, rather than simply compiling songs that flowed well after each other. Can you tell us a bit about the thought process behind creating such a unique piece?

I wanted to make a seamless record that could only be listened to in one go. There aren’t really any standout tracks on it. You wouldn’t read just your favourite chapter of a novel or just watch your favourite scene in a film would you?

How would you say your productions have grown since your first release in 2009? Has your affiliation with R & S been an important support network to have for your music?

I guess i’ve just learnt more about producing, technically that is. My aesthetics haven’t changed. DJ’ing kind of made me think like a DJ when making a track for a while, but that was shit. It’s great to be a part of R&S and hear their feedback on my tunes, but i’m still very much doing my own thing.

What might we be finding of yours on 12” this year that you’re able to tell us about?

A combination of every type of music i’ve released so far and more.

Finally, what are 3 tracks of past, present or future that are pushing your buttons at the moment?

Inspector Norse by Todd Terje – I love that guy.

Time After Time by Cyndi Lauper – Absolutely massive synths in that tune.

Kyrie by Mr. Mister – Possibly the most epic tune of all time, tied with Broken Wings. Mr. Mister is the master of the epic chorus.

Space Dimension Controller plays LAZERBERN “Episode II – The Battle for Naboo” at Buffalo Club in Melbourne this Friday.

Space Dimension Controller on the web:

soundcloud | facebook | tiraquon6

With the vibe on the party already large, we fired a few questions over his way to get you in the mood for what is set to be, albeit we probably say this too often, one of the best nights out you’ll have this year. We hope you’re ready to dance for 5 + hours straight!

So we’re all very excited to have you here for the first time this Friday for Animals Dancing in Melbourne. By the sounds of it you’re going to be cutting it a little fine though?

Thanks! Yes, getting in on friday morning from berlin, its crazy, what a trip!

Tell us about ‘Hunchin All Night’ your residency at Soju Bar in Berlin in which you grace the decks all night long. How did that come about and what is it that you love so much about playing 5+ hour sets into the early hours?

The owner liked what I did on my first night there and the size, sound and vibe of Soju Bar is the perfect balance between musical freedom and relaxed atmosphere… When you play long sets, and you’re connected to the crowd, you get into this area, where every song you play means more and has a deeper impact. I love the feeling of a journey that start and ends and has a storyline. Generally difficult to achieve in 2 hours around peaktime.

Your DJ sets which are available online vary hugely in flavour showcasing your extremely eclectic taste, but is it fair to say that Disco is your number one when it comes to working a crowd? How did that love affair with Disco begin?

Yes, in terms of a creating a dancing vibe, disco records are what comes most naturally to me. Haha, my love affair with Disco… of course on the dancefloor, where else!?!

As a now Berlin resident of more than a decade, how do you feel about the mass migration to your hometown from aspiring DJ’s and producers the world over?

I don’t care about it. Well, it’s nice to meet people who think and do interesting things, but this also happened before everyone had Berlin in their minds. My life doesn’t get affected too much by what might seem like a ’mass migration’.

As a known vinyl head, how do you go about packing your bag when travelling long distances, ie. Australia? Do you justify taking many records or is it just too difficult?

Sometime ago I got this very handy travel trolley. What ever fits in there comes with me. I spend the last days recording countless vinyls and burning cds. I still feel weird bringing less and less vinyl to my gigs abroad, but by playing strictly uncompressed wav files, I try to tell myself that its fine.

What do you plan on doing in your time between long sweaty DJ sets and customary hangovers whilst down under?

Riding a bike, eating at all the spots, drinking all the drinks, swimming round the sharks, following a kangaroo, tanning my bellybutton, making friends with the sun.

Finally, what are 3 of the records that have not left your bag of late?

Loi – Body Contact

Duster Valentine – (My Back Is) Against The Wall

The O’Jays – This Time (Em Vee Edit)

(this is the original)

Hunee plays Animals Dancing at The Mercat Basement, Melbourne, Friday 10th February.

Hunee on the web:

hunch music | soundcloud | facebook

Edit Piafra, who makes up the other member of the acidic duo, is very well known for his eclectic DJ sets in his and Iron Curtis’ hometown of Nürnberg, as well as being a talented maker of edits, hence the name. He and Iron Curtis now reside in Berlin and play regularly together under the new banner, churning out a mixture of classic and recent chicago house, deep techno and of course acid!

Word has it the Achterbahn D’Amour boys will be playing their debut gig at Panorama Bar on the 29th of June, so for all of you acid loving Aussies escaping our winter in Berlin mid year (as we will be), be sure not to miss them!

We caught up with the boys for a Q & A to see how this roller coaster began..

Firstly for those that don’t know, who are the two people behind Achterbahn D’Amour (German for Roller Coaster of Love) and how did the project first come together, was there a long history there between you guys both hailing from Nürnberg?

IC: Actually we’ve known each other for quite some time now. We were both djing in Nürnberg back in the days (I guess it was around 2004), had mutual friends and went out to the same venues and parties. Jool (Edit Piafra) was famous for his diverse and eclectic DJ-sets….

EP: I also heard just the best about your skills bro… I always wanted to DJ at the famous ‘Lead With The Bass’ party, but then you were faster and got the job. In the end we met at one of my parties…

IC: … fell in love…

EP: And the rest is history!

Acid Test 05: Trance Me Up (I Wanna Go Higher)… by Achterbahn D´Amour

There’s a strong presence of acid house and techno in your releases so far. How did that originate and who are some artists that initially spawned your love affair with acid?

EP: I first came in touch with electronic music in the early 90s and was a big fan of German Acid-Techno-Duo Hardfloor and stuff like Robotman. Besides that, an old friend of mine owned a 303 during that time, so I was able to twist the knobs a bit already back then. We also listened to lots of Hithouse…

IC: I guess my love for Acid House jump started with two Mix-Compilations I bought when I was 14. One was a Bonzai-Records compilation (featuring Acid Junkies, Djax Up artists etc.) and the other one a DJ-Mix of Strictly Rhythm tracks from that time. Both featured Josh Wink’s “Higher State of Conciousness” – and from that point I was infected by that 303 sound. It was (and still is) a constant research & digging for classic Chicago- and Acid-House tracks for the both of us.

EP: And of course there are plenty of interesting contemporary producers around worth checking when it comes to raw and jacking house music. They also have great influence on our work.
IC: i.e. Jamal Moss, James T. Cotton, Traxx or Steven Tang.

Absurdcast #10: Iron Curtis by Achterbahn D´Amour

Tell us about your live set up in the studio, what gear do you guys use and what is the collaborative process used to create those live acid jams?

IC: It´s a mixture of hard- and software: Ableton Live, Propellerhead software, a Jomox drum machine, some analogue synths, Tascam tape recorders, tambourine, coffee & cigarettes…

EP: We both come up with ideas (mostly loops and raw sketches) and then decide to work on them – or not. Some of the tracks were actually done in ‘live jams’ and some are proper team-work-arrangements.

Absurdcast #09: Edit Piafra by Achterbahn D´Amour

Will we be seeing the live set being performed in the clubs anytime soon?

EP: Maybe – but not that soon…

IC: Well, I guess I have to force you a little bit. No, but honestly: I guess there will be a time when we’ll be brave enough to play out a liveset.

EP: I´m frightened!

IC: Jool! Stop that!

EP: I´m sorry.

Edit Piafra has been an alias used mainly for edits, have you always been making original music as well, or is this somewhat of a new thing?

EP: That´s right, more of a new thing which just grew with doing edits and learning more about production.

Tell us about your connection with Acid Test, a sublabel of Absurd Recordings out of Los Angeles which you released two 12″s on last year. How did that come to life?

IC: Oliver from Absurd contacted me and asked me if I had a track for a compilation he was planning at that time. He mentioned that artists like Tin Man and Donato Dozzy will contribute tracks as well. That made me curious rightaway as I’m a huge Tin Man fan. I remembered that one jam I did together with Jool a couple of weeks before and sent it over to Oliver. He seemed to like it and asked for more…

EP: But there wasn’t more…

Acid Test 02: Your Love (In A Live Jam)… by Achterbahn D´Amour

IC: Jool!

EP: Ok ok, I had some beats and resonator chords I wanted to use for a Talking Heads edit. From that we built the second track. Then Oliver asked the Idjut Boys to do the remixing and the EP was complete. So that’s how the Achterbahn actually started running.

IC: We do feel really comfortable working with Oliver. He was always supporting and pushing us and we hope to keep on working with this dude!

EP: Word!

Your latest release, which is soon to drop on Johannes Albert’s Frank Music, will mark your third 12″ together. Can you tell us about that record?

IC: Johannes is a close friend of us and we share the same love for leftfield and weird house music. Jool and me contributed tracks to the first Frank release and we are glad that he asked us to do a full EP together.

EP: It´s really cool that Johannes keeps on going with his label work, as he started it all by himself in a true d.i.y. kind of way. “The Middle Of” was the first track we played to him.

IC: “JX2” the second…

EP: That´s why it´s not called JX3…

IC: Well, and maybe that’s why he graciously accepted “Into The Wilde” as well. I guess I speak for the both of us saying that it is our first proper pop-track…

EP: Hand played bass guitar, wishful vocals, and strings from heaven.

IC: Out in February.

Preview: ACHTERBAHN D`AMOUR – Frank Music 03 by Edit Piafra

What is next for Achterbahn D’Amour release wise and what are some of the parties you’re looking forward to playing next?

IC/EP: Lots of tracks and remixes in the making and a remix coming out soon on Roundabout Sounds. It´s going to be part of a double 12” tribute to Aaron Carl. Thanks to Joe Marougi for having us alongside himself, Baaz, Piranha Head and others. Partywise we are looking forward to the Frank Music night at About Blank here in Berlin. Next up will be an Achterbahn set at Tresor. In the beginning of March we´ll return to Nuremberg for our regular ‘Pumping Velvet’ party.

Finally, what are each of your top 3 records doing the rounds at the moment?

Iron Curtis:

Lady Blacktronika – Jesus Juice – Sound Black Recordings listen

Chicago Skyway – London Streets (Hakim Murphy Remix) – Uzuri listen

Stephen Brown – Keygroup – Subject Detroit listen

Edit Piafra:

Dee Dee Brave – Can´t Get Over It (Kaoz 6:23 Mix) – Champion listen

Helium Robots – Jarza (Theo Parrish Translation 2) – Running Back listen

Peaking Lights – 936 (Remixed) – 100% Silk listen

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