Michaela Melián – Convention (Monika Enterprises) Dee Dee Brave – Can’t Get Over It (Champion) Stefan Goldmann – Heatwave (Victoriaville) Jackin’ Bernard Badie – Bernard’s Got The Funk (D.J.B. Productions Records) Unknown Artist – Untitled (Chicago Underground) Unknown Artist – Untitled (Other Side Records) Barry Manalogue – Koyo Front (Nonplus Ltd.) Ricky Smith – Cry Baby (Chicago Bad Boys Records)
In early 2004, I was occupied with the confusing and chaotic last stages of leaving my cozy and beloved seaside hometown Kiel up north for the bright lights of Berlin. My girlfriend was already there for a while, and I was more than happy to live with her again, but at the same time I was very sad to leave my family and friends behind for what was very likely to be a move for many years and a future uncertain. One of those said friends was the one who operates under the Gram moniker, a likeminded soul with whom I shared a lot of cultural interests and lasting experiences, and with whom I wholeheartedly clashed heads over what we could not agree upon in many nights of smart conversations (and more often than not far less smart amounts of drinks and cigarettes).
As it became clear to the both of us that we would not see each other as much again for quite a while, we were toying with the idea of recording a mix together. Some kind of final joint venture for the time being, a testament to both our friendship and music we both loved. At that point we had a few discussions about digital mixing devices, Ableton and the likes were on the upswing, and he was dabbling in a few track productions on the computer and was more open to the idea than me, as I was pretty determined to not abandon my turntables for this kind of progress. But then I felt it would be a good opportunity to try something I had not tried before, particularly instead of criticizing a method I only knew in theory. So we soon agreed to embark on the endeavour of a digital mix that should at best use what seemed to be the ultimate advantage over a setup with two turntables, meaning the use of multiple tracks and the ability to insert more sounds than you could with two records playing at once (no, I’m no turntablist). The problem was that we had no Ableton or similarly advanced mixing software at hand. Among the programs Gram knew his way around was Cakewalk, which at the time was already vintage, to say the least. We soon realized that the only way for us to do it was to combine analogue hardware with it. The idea for the source material was quickly agreed upon. I had vivid memories of the Acid House glory days, and I was miffed about how revivalists were mostly only clinging to 303 sounds whenever the genre came back into the spotlight, whereas I always experienced Acid House as template for parties that incorporated diverse styles, and not only one. So basically we wanted to use landmark records of that era with a bit of stylistic leeway left and right and play them like we felt they should be played: energetic, raw, the archetypical aural rollercoaster ride. With this in mind I browsed my record collection for the basic tracklist and also for what should be the added value of the enterprise: a whole plethora of acapellas, samples, vocal snippets from records and movies, sound detours, intros and outros, all coming from different angles. We narrowed down the selection to how much we would need to match the typical CD length, and to how much elements we could inject into a track without drowning it, and then we chose a basic record and a basic tempo (Tyree’s “Acid Over”, which strangely then did not make it to the final tracklist later on) and I pre-mixed all in sync with it on two Technics MKs and we recorded each single track and snippet onto the computer afterwards. I don’t recall how many tracks of the program we could fill with all those recordings, but for me, who rarely used more than three channels on a mixer, it sure looked impressive. What also impressed me was the hours it already took to finish this first stage of the mix. And it was only preparation still.
When we then started to structure all the single components into a whole, it took way more time. For more than one month, we met several times a week and spent hours from early evening to early morning trying to work out the best sequence for our material that we felt we were capable of. I must add that I’m hardly a perfectionist and a studio boffin even less, but my collaborator was, and that fit like a glove with my enthusiasm for the idea and my many years of DJ experience. In fact, despite barely managing to complete more than one or two track sequences in several hours of work, it felt like we were already exploring the atoms of everything we used, and then splitting it into even smaller fractions, and it felt like a strange universe on its own. Frequently, we took a break, stepped back from the monitor and listened thoroughly to what we just did, and how it worked with what we did before, like a painter studied what ended up on the canvas (I’m not getting carried away). And it was like we’ve created a monster, too. Something that spiralled out of control. Something that seemed more out of reach in terms of finishing it with every little step we took. But then again, every small step, however long it took, seemed to lead to something we had not expected. New opportunities came to mind that led to the deletion of the ones not considered as good anymore. There were setbacks, detours, fresh and false starts, bad ideas. And there were leaps of faith, open sesames, sudden solutions, good ideas (I’m not getting carried away again). For the work on something as functional and purposeful as a recorded mix, it was pretty intense. When we finally stuck the outro to the last track, and gave the whole thing a final listening, we were surprised with how fresh and accomplished it sounded, and how little of all our efforts were apparent. We conceived artwork to complement the listening experience, and we were done with it. We were ultimately satisfied with the result. Of course anyone with enough skills could have come up with something equally or more engaging in realtime, thus sparing oneself the ridiculous amount of time we spent on it. But that was not the point. The point was to spend this ridiculous amount of time on it, together. Not caring if somebody would ever appreciate what and how we did it (and also secretly hoping somebody would). Not knowing if the dam we built would hold.
But it did. Time went by, and we are still very good friends, and still living in different cities. We never recorded something together again, but we sometimes speculate what it would have sounded like if we would have. I have never recorded a digital mix again, being too impatient and feeling too uncomfortable with anything else than two turntables. Gram, however, went on to record a few other fine mixes with the same dated setup. We both are still very proud of “Smileyville”. For us, it has stood the test of time, like the music it contains.
You are a well respected music writer writing for publications like De:Bug, RA and your own blog (among others). Has music writing always been part of what you do, and what came first? The writing or the djing?
I write about music in public since the mid-90’s, and I started playing out in the late 80’s, so definitely DJing came first. My output as a writer has also been not as prolific as it turned out to be after I moved to Berlin in 2003. I knew Jan Joswig, the fashion editor at de:bug at that time, from former days in my hometown Kiel and he asked me to contribute. I started out writing reviews and then turned to features and especially interviews, some of which got quite some attention. So that eventually led to writing for other print and web publications too, like doing the “Playing Favourites” series for Resident Advisor, my “Rewind” series for sounds-like-me.com, Groove Magazine, and a lot of other media. The Website you’re referring to is not a blog in the sense that I write about everything that goes through my head, it is more like fragmentary online archive of my activities from the 90’s until now. Writings, Mixes, Gigs, the label, and a plethora of other things. It is not that I’m that vain to want everybody to know what I do and did, it is kind of a reminder for myself that others can follow if they like. Excuse the irregular updates at this point, but I slowed down all said activities a bit to have more time for my lovely wife and daughter, and I took up working at Hard Wax, too. Consider me well busy.
Can you please tell our readers what is D*ruffalo and who stands behind it?
I can’t possibly tell, at least not anymore. When D*ruffalo was unleashed 4 years ago, it was some sort of a media experiment initiated by a semi-anonymous collective of writers, producers and DJs based in several German cities, intended to be a platform to share love for what should be loved, free of any conventional restrictions. Soon some lack of love for what was deemed not as loveable showed up as well, but basically it was conceived to be the Fort Alamo of sincerity. Decidedly non-ironical, accidentally post-cool and fiercely anti-hype. At some point The D*ruffalo Hit Squad and the according Druffmix series was brought to life, to shine a light on music no light shined upon. But it totally spiralled out of control. I don’t know what it is right now, or if I am still a part of it even. But apparently D*ruffalo celebrates its sheer existence and the 50th Druffmix with a party at Berlin’s Soju Bar on February 11, and there are negotiations about a regular residency there. If the unpredictability and confusion of the D*ruffalo members allows. Which is probably unlikely, maybe. I can’t possibly tell.
You are running Macro Records together with Stefan Goldmann. How’s the process been running a label and what can we expect from Macro in 2011?
When we founded Macro we decided to only release music we find worth releasing, at the potential risk of longer stretches with no releases at all. But then the label took up so much momentum that we now have more releases lined up for this year than in the years before. March will see a new EP by the rather sensational Elektro Guzzi and Stefan’s magnificent “The Grand Hemiola” 2×12″, you can hear excerpts of both in the mix I recorded for you. We will follow that up in April with a live album by Elektro Guzzi and a compilation of the late works of the composer and conductor Friedrich Goldmann, Stefan’s father, who sadly and much too early passed away in 2009. We are also in the process of preparing several other projects for later this year, which are not yet ready to be unveiled, but well worth waiting for. We worked very hard to achieve a position in which we can do whatever we want, and as long as this strong support will stay with us, we will do just that. Expect the unexpected.
You’re known for your eclectic dj sets. What can you tell us about this set you prepared?
My sets, be it in a club or radio context, can be quite diverse, that’s true. But I don’t believe in eclecticism per se. Meaning, I don’t want to attract opposites just for the sake of it. If you neglect a certain coherence, structure and narrative you will end up sounding like a jukebox, however interesting it might be musically equipped. I like thinking of a concept when doing a mix, as subliminal or not it might be. With this one, I just intended to combine an experimental streak with a dancefloor functionality, while providing a glimpse of unreleased Macro material and tracks of artists I consistently admire, and tracks I still find as interesting as the day I first heard them. Which in the case of this playlist, was not too long ago. At any other time the set would probably have sounded differently, but this was what I then had in mind for this purpose and I hope it makes as much sense to the listeners as it made to me when I recorded it.
Stefan Goldmann – Mining The Vein / The Grand Hemiola Raime – This Foundry (Regis Version) Shackleton Vs. Kasai Allstars – Mukuba Special Theo Parrish Ft. IG Culture – Traffic Elektro Guzzi – Boom Room Margaret Dygas – Hidden (NSI Mix) Farben – Kursbuch 1&2 Son Of Sam – Nature Makes A Mistake (Âme Mix) Marco Bernardi – Klinsfrar Melode (Sprinkles Deeperama) WK7 – Higher Power (Hardcore PCK Mix) Pinch – Croydon House
A mix with some 90s house records I hold very dear.
Mr Fingers – On My Way (Pinky Blue Mix) Lovechild – Sweet Ambience (Deep Dub) Chez Damier & Stacey Pullen – Forever Monna Inner Soul feat. E. Scott – I’m In Need 4 U Sound Waves – I Wanna Feel The Music (Smooth Mix) Sensory Elements – Explain It Jazz-N-Groove – Do Ya (Marcs Lunch Pale Mix) Equation – I’ll Say A Prayer 4 U Debbie Gibson – One Step Ahead (Masters At Work Mix) Yohan Square – Love Of Life (Genesis Mix) Mark Rogers – Twilight For Some (Hurleys Twilight Mix) Subculture – The Voyage Joanna Law – Love Is Not Enough (Mix D’Ambience)
The Druffalo Hit Squad boldly went to wild places, persuaded a ridiculously famous high class DJ to contribute, emanated lysergically to the roots of lysergic, came out of the shadows and looked to the light, lived the pop life to a 4/4 beat, had a three hour tempo downer, went holiday reminiscing, went sailing, said yeah forever, kept waiting for it to come in a double feature stylee, were all drama, were humbly militant, made goth balearic, took eclecticism to the sewer, said that vocals matter, kissed the duke goodbye, called for last orders twice, shed a tear for Levi, danced the art school dance forever, cooked up a storm, gentrified the hood, raved Canada, raved UK, proposed a toast, made an urgent call, continued the mission to save hip hop, raved New York, cut some beards, cut some more beards, went down, went up, heard Frankie say “horny”, raved Detroit, raved Continental Europe, hailed BB one time, hailed BB two time, lit the lighter, raved Chicago, went a bridge too far.
Bangles – Eternal Flame Cube – Concert Boy Joe Jackson – Steppin’ Out Robert Palmer – Johnny And Mary Men Without Hats – I Got The Message Devo – That’s Good Toyah – Echo Beach Fehlfarben – Agenten In Raucherkinos Dislocation Dance – With A Reason Martha And The Muffins – Danseparc Shock – Dynamo Beat The Wirtschaftswunder – Junge Leute Lene Lovich – Lucky Number Yello – Pinball Cha Cha It’s Immaterial – Ed’s Funky Diner It’s Immaterial – Ed’s Funky Diner Freur – Doot Doot The Lotus Eaters – The First Picture Of You Matia Bazar – Elettrochoc Ennio Morricone – Metti, Una Sera A Cena Godley & Crème – Under Your Thumb Real Life – Catch Me I’m Falling Kamille – Days Of Pearly Spencer Au Pairs – Headache Electric Chairs – J’attends Les Marines Kim Fowley – Searching For A Human In Tight Blue Jeans Devo – Going Under Heaven 17 – Excerpts From Diary Of A Contender Pat Benatar – Love Is A Battlefield Deutsch Amerikanische Freundschaft – Als wär’s das letzte Mal The Woodentops – Last Time
This is a mix for all you big-heads out there who think disco music is lower than the irrelevant musical gibberish and tired platitudes that you try to impress your parents with…
We’re The Druffalo Hit Squad, we’re much cleverer than you and this is Druffmix 49.
Nick Heyward – When It Started To Begin Blue Rondo A La Turk – Klactoveesedstein David Byrne – Big Business Family 5 – Traumvers Yello – Base For Alec Human League – The Sound Of The Crowd Die Krupps – Goldfinger Soft Cell – Bedsitter Orchestral Manoeuvres In The Dark – Enola Gay Spoons – Nova Heart Hilary – Kinetic Human League – Dance Like A Star Vicious Pink – 8:15 To Nowhere Heaven 17 – We Live So Fast Electric Light Orchestra – Yours Truly 2095 Yello – Alan Rankine – The World Begins To Look Her Age Wilson Pickett – Groove City Lipps Inc. – Choir Practice Cut Glass – Without Your Love Richie – Trying It On Peter Jacques Band – Fly With The Wind Dislocation Dance – Show Me Spandau Ballet – Only When You Leave Mari Wilson – Let’s Make This Last The Associates – Take Me To The Girl Comateens – The Late Mistake The Christians – Forgotten Town Suicide – Dream Baby Dream
We don’t care where we go When we’re with you When we cry You don’t laugh ‘Cause you know us
We’re in you You’re in us We’re in you You’re in us ‘Cause you gave us the love Love that we never had Yes, you gave us the love Love that we never had
You and us don’t pretend We make love We can’t feel anymore than we’re singing
We’re in you You’re in us We’re in you You’re with us ‘Cause you gave us the love Love that we never had You gave us the love Love that we never had
Come so far where you think of last fall You can die but remain you and us We’re in you You’re in us We’re in you You’re with us ‘Cause you gave us the love Love that we never had Yes, you gave us the love Love that we never had You gave us the love Love that we never had
We don’t care where we go When we’re with you
Liza Minnelli – Rent Fine Young Cannibals – Johnny Come Home Talk Talk – Talk Talk Fashion – Mutant Mix Mechanik Vicious Pink – Spooky Vanity 6 – Make-Up Heart – Barracuda The Bollock Brothers – Save Our Souls Garcons – French Boy Blue Rondo A La Turk – Heavens Are Crying Associates – Those First Impressions Samba Soul – I’m In You Phyllis Nelson – Don’t Stop The Train Jimmy Ruffin – I’m Gonna Love Your Forever The Isley Brothers – It’s A Disco Night Edwin Starr – Twenty-Five Miles La Flavour – Mandolay The B-52’s – Roam Alphaville – Forever Young Sparks – Madonna China Crisis – Some People I Know To Lead Fantastic Lives The Church – Under The Milky Way Echo & The Bunnymen – Silver The Parachute Men – If I Could Wear Your Jacket…? The Velvet Underground – The Gift The Bollock Brothers – The Gift -2
Gloria Jones – When I Was A Little Girl The Raes – Don’t Turn Around Pink Lady – Kiss In The Dark Marlena Shaw – Touch Me In The Morning The Duncan Sisters – Sadness In My Eyes James Bradley – Wrapped Up In Your Love Latimore – Goodbye Heartache Patrice Rushen – Haven’tYou Heard Machine – You’ve Come A Lng Way The English Beat – I Confess The Pale Fountains – …From Across The Kitchen Table Bananarama – Really Sayin’ Somethin’ Shriekback – Lined Up Duran Duran – Girls On Film Zaza – Zauberstab British Standard Unit – D’ya Think I’m Sexy Yazoo – Goodbye 70’s Strange Advance – Love Games The Associates – Waiting For The Loveboat Bee Gees – E.S.P. Marc Almond – Tears Run Rings Deacon Blue – Real Gone Kid Kumano – I’ll Cry For You BearEssence – The Big Hurt Space – Save Your Love From Me Noel – Dancing Is Dangerous Le Jeté – La Cage Aux Folles Sheila B. Devotion – Spacer Fox The Fox – Flirting And Showing Flash And the Pan – Waiting For A Train OMD – She’s Leaving
Some newish techno cuts, mixed for the Italian Electronique.it podcast, now defunct.
Emika – Double Edge – Ninja Tune Skudge – Convolution (Aardvarck Remix) – Skudge Records D-Bridge – ZX81 (Shed Remix) – Fat City Recordings Ramadanman – Work Them (Swamp 81) Kode 9 – You Don’t Wash (Dub) – Studio !K7 Ikonika – Video Delays – Hyperdub Africa Hi Tech – How Does It Make You Feel – Warp Records Jared Wilson – Night Sky Jpeg – Lux Rec A Guy Called Gerald – In Ya Head – Perlon Head High – It’s A Power Thing (Power Cut) – Power House Baby Ford & Mark Broom – Bubblebath – Pure Plastic Surgeon – Floorshow Part II – Counterbalance Aux 88 – Electronic Underground – Puzzlebox
You saw us standing alone in the dark, Lost in the silence of our heart, Crying for angels, crying for light, Crying for someone tonight
No time for wasting, no time for truce, No time for innocent lies, Touch us like heroes straight from your eyes, Lead us to worlds far beyond
And we know it’s you for freedom, And we know you can fill the space in us
We need secrets in the dark, love in the shadows, Passion burning out from under our skin, Take us for a ride until the night time’s over, When daylight steals the magic of the dark
We’ll give no reasons and no border lines, Kill the fire that brakes the heart of love, No more crying for angels, crying for light, Crying for someone tonight
And we know it’s you for freedom, And we know you can fill the space in us
Vicious Pink – Cccan’t You See… Allez Allez – Wrap Your Legs (Around Your Head) Fehlfarben – Keine Ruhige Minute Killing Joke – Adorations Visage – The Damned Don’t Cry Quartzlock – No Regrets E.G. Daily – Love In The Shadows Debbie Harry – Rush Rush Freddie Mercury – Love Kills Hazell Dean – Evergreen Double Discovery – Can He Find Another One? USA European Connection – Come Into My Heart/Good Lovin’ Harlow – Take Off Midnight Powers – Dance, It’s My Life Gregg Diamond – This Side Of Midnight Liquid Gold – My Baby’s Baby Technique – Can We Try Again Buffalo Smoke – Stubborn Kind Of Fella Teri De Sario – Ain’t Nothing Gonna Keep Me From You Doris Troy – Can’t Hold On Tavares – Don’t Take Away The Music Jimmy Ruffin – Hold On To My Love Margaret Reynolds – Keep On Holding On Visage – Again We Love Psychic TV – Only Love Can Break Your Heart
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