Published: 7 Sep 2015

Mind twisting techno from a dystopian parallel universe.

Brooklyn’s Jon Beall has a knack for creating ferocious apocalyptic excursions, full of tension and glory. Armed with an arsenal of analogue synthesizers, the music under his solo Entro Senestre guise or with partner in crime Willie Burns as Daywalker + CF skilfully combines ball tearing power with mesmerising melodic nuance, delivering what is generally an awe-inspiring knockout punch. We hit up the New Yorker on the back of his incredible Surface EP for Dutch heavyweight Dekmantel, and he’s turned in a soaring mix of techno, electro and noise plus answered a few of our lingering questions..

What have you been up to? I hear you’ve been busy in the process of starting your own label.. What can you tell us about that?

This summer I have been incredibly busy partying. I have never connected with and met so many people and developed so many close relationships with this amount of people at such a fast rate in my life. All talented musicians. I’m fortunate to be surrounded by this much talent and I want others outside of my reality to experience it. So I’m starting a label, just like everyone does. It will be one additional outlet for my friends and I to release music. As an artist it helps to move on quickly to stay in touch with your current style/vision/tastes or whatever it is your doing. Things get backed up, and it’s nice to have more than one option. I think everyone will benefit.

Tell us about the record you recently released on Dekmantel.. It feels like an ode to some of the futuristic Detroit electro of yesteryear in many respects.. What feelings or moods were you trying to convey with those four tracks?

I never aim for a specific feeling. I often name the track later after listening back and thinking of what could have sparked that sort of emotion. I also think about what events were taking place in my life. Sometimes I see a phrase that can spark an idea. For example, “Slow Motion Disaster” is about melting polar ice caps. I saw a caption that read, “rising seas to threaten Miami.” I thought that was a dope track title but too long. But, that event itself is a slow motion disaster. While I was writing the track I was thinking about that, and started to base the track around it. Sometimes I don’t figure it out until months later. I’ve been listening to electro since I was 5 years old. Listening back to that record now the music sounds like an ode to classic electro but when I was recording the tracks it felt very present. The sessions weren’t based around rehashing sounds of the past, that just happens when you make music that was created over 30 years ago.

You and Willie Burns have been working together for quite a few years now, through your releases on his label WT and at The Thing thrift store, but most recently you’ve created a pretty formidable studio collaboration in the form of Daywalker + CF. What can you tell us about the recording process when you guys team up, is it a jamming type environment with certain roles and certain gear, or do things happen a bit more organically?

Its a jam environment. If I walk into the room and he’s recording I might plug in whatever machine I have hooked up and start playing without hesitation. Will does the same sometimes. Or, we will be hanging out and we just decide to plug in and see what happens. For “Supersonic Transport” I was making that track and Will came in and plugged in his DX7 to his space echo and played some strings or something that I thought took it over the top and I just hit record and we jammed for almost 20 mins. It was a cool track to begin with but the strings brought it all together and somehow we didn’t fuck it up.

With “A Bulldog Named Carl” Will played that bassline on his Pro-One and I walked over and started to jam on the 808 while he played live pads. It was a nice track, it developed nicely. Will later put the interview with Carl Sagan on the track and then I heard it and thought it was sick. We stay away from quantizing. Often things are mixed poorly. Honestly, some of our music is awful because we approach recording in such a chaotic way. But its more fun this way.

While on Daywalker + CF, what might the future hold? Is it something that you guys would like to present in the form of a live show eventually?

I’m not sure about a live show. A lot of people have asked me in the past year. Maybe we ought to.

I know you don’t DJ all that much, so how did you approach this mix? How was it recorded and what was the idea behind the mix?

Initially I wanted to do a mix of all my friends music. No one else. They have the goods and I want it out there. I also want the shit no one else has. I want the tracks my buddy made two days ago! That became too difficult. I don’t have that many friends with that much exclusive music that will conveniently fit into an hour mix. Much of the artists are friends of mine and also a few tracks from my collection. I used to DJ and I’ve wanted to start DJing again for a very long time. I’m DJing with Beto Cravioto, Alex From Queens (Capriccio) and Willie Burns on October 1st at Black Flamingo in Brooklyn. Come thru.

Tracklist:

Heinrich Dressel
Shawn O’Sullivan – Res
Pure Matrix – Hyper Object
December – East
DJ’s Amigo – Anthem Para la Club
Steve Summers – Anhedonia
Unknown
Malory – Dah
J. Albert -EarRing
Steve Summers – Shimmer
Ptose – Haunted Hole
DJ Overdose – Trail of Tears
Jahiliyya Fields – Clear Collar
Polar Inertia – Major Axis
Enrique – Please Shut the Door
Beta Librae – Baby Fraud
UMFANG
Pure Matrix – Deficit Achieved
Civil Duty – Pickle Eye
Entro & Bookworms – STE 0034 3
DJ Wey – Tame Phase
M/R – Canto
Inhalants – Rain
Svengalisghost & Florian – Napalm Love
Nautical Almanac
EQD – #111 04