In discussion with Philip Marshall about the album “Introspective” by the Pet Shop Boys (1988).
There is plenty to choose from in the history of the Pet Shop Boys, why did you pick this album? It’s all about time, and my personal trajectory. In late 88 I was 16, going on 17… And life was unfurling before me. No longer trapped in suburbia, I was spending increasing times in London Town, growing up, and learning all about myself – clubbing and all that entails included. I dug deep into London’s rich vein of “equity culture”, and quickly discovered my late teenage was perfectly in sync with the most exciting of explosions in music culture since post-punk. At this time, lines were blurred. I made a commitment to myself, and sold off hundreds of indie vinyl down the Notting Hill record & tape exchange in order to fund my new-found love of nightlife and the music coupled to it. No mop-headed moaning guitar drivel would ever sully my collection again (or, so I thought back then…). An end to teenage angst, sold by the crate-load. Out with the gloom. In with 808 State, Electribe 101 and never ending weekends… But, the electronic pop I had loved when young stayed with me…
I think it is safe to say that they wanted to do something different from their first two albums. How do you place this in the output of the Pet Shop Boys?
It’s all about timing – “Introspective” was released that November, when my introspection first ended. A thread – from a pop past, to a future life. For them, it was a definite embrace of the then fresh house culture that Europe had plunged into – a relatively brave move for an established pop act and before others, such as ABC, jumped that train… As far as placing in their personal timeline, well one of the things I love about this album is its single-minded stance. Although the songwriting and lyricism is as strong as what went before and what was to come, its formatting, arrangement and structure was wilfully, almost arrogantly, other. Here was a group having number one hits in Europe and the USA, coming off the back of two consecutive number ones, and returning with a release that 1.) was six tracks long, 2.) comprised of extended mixes, 3.) didn’t have their image on the cover, 4.) was oblique, lyrically, in parts… The confidence and, presumably, freedom from EMI’s meddling that their earlier success lent them, afforded them the space to make an other statement. A few weeks ago, I was tearing through the English countryside with Jon Wozencroft , on our way to a Suffolk performance. His car had a cassette player, and we were rifling through his old tape collection. “Introspective” was played. We agreed; it is the “Sgt. Pepper” of house – the sound of a band at the peak of its popularity stretching and flexing its remit without fear of a crash. Read the rest of this entry »
In discussion with Terre Thaemlitz about the album “Dazzle Ships” by Orchestral Manoeuvres In The Dark (1983).
A lot of interesting electronic music was produced in 1983, the year “Dazzle Ships” was released. What drew you to Orchestral Manoeuvres In The Dark, and this album in particular?
To be honest, I don’t recall exactly how I came to own this record. I think it was probably the usual budgetary situation where I had heard about OMD, I wanted to buy a record to check them out, and “Dazzle Ships” was the cheapest album to buy. As a teen, my record collection was built on unpopular records from the $1.00 bin. This was economically unavoidable. It also meant my point of entry for a lot of bands was through their “commercial flops”. And as an “outsider” who did not fit in with others and was therefore a flop of sorts myself, I found resonance with these failures at assimilation. Gary Numan’s “Dance” is a brilliant example – thinking back, to be 13 years old in Springfield, Missouri, and really into that album, it really signifies a kind of social isolation. A “normal” or “healthy” 13 year old could not be into that album. Impossible. So I believe this entire process of arriving at an album like “Dazzle Ships” must never be reduced to a simple matter of taste. It’s tied to issues of economics, class, socialization… in the US it is also tied to race and the divide between “black music” and “white music,” etc.
With this album, OMD experimented with elements beyond their Pop abilities, like shortwave recordings, sound collages and cold war/eastern bloc imagery. How would you describe the concept of this album?
I think “Architecture & Morality” already introduced a lot of those elements. I don’t know for sure, but as a producer myself I imagine this is partly related to the emergence of better sampling technology. They could use samplers to play back all kinds of sound elements, rather than being limited to synths and multi-track recording. I also imagine, drawing from my own experiences, that “Dazzle Ships” (like Numan’s “Dance”) represents a crisis in their relationships to their record labels and Pop music generally. A crisis with capitalism, the demand for sales, demand for audio conformity… and in this way the socialist imagery of the album is perhaps a reflection of their struggling against these processes. I remember reading some article – which I have no idea if it was trustworthy or not, but – it talked about the tremendous pressure labels put on OMD to become more Pop. I believe they were asked to finally decide if they wanted to be the new “Abba” or not, and if so, to change their style accordingly. This was a brutal trend in UK new wave. It destroyed the Eurythmics, The Human League, Gary Numan, OMD, Depeche Mode, and on and on… These are all UK bands, all extremely influential, and all totally boring in the end. Very few groups came out of these struggles for the better – one exception being Talk Talk, who did abandon their synth sound but became something marvelously unmarketable in another way. All of these New Wave bands had to become Rock bands capable of penetrating the US market, blah, blah – dumb American Dreams. Techno-Pop was dismissed as a fad by industry, and the artists seem to have gotten swept up in the hype of possible “success”. Ironically, of course, even if they got a brief flash of super-Pop success they alienated their core fans who had been drawn to them as other than Pop. I know I felt extremely betrayed. I still do, at age 41. When I was young, it was a personal betrayal, now it strikes me as a cultural betrayal. I could be totally wrong, but I guess for me, all of this feeds into the concept of “Dazzle Ships”, the title being a reference to massive battle ships. The idea of sending this album afloat in the marketplace, poised to attack and conquer as the label wants – but stylistically it also clearly sabotages any prospect of popularity. I think it was OMD’s attack on the labels that released it – a final kick in resistance before transforming into the Pop band that produced “Junk Culture” (although it could have also been a tremendous extension of A&R pampering in which the label let their artists run amuck – but that is so much less inspiring to me). And you have to forgive me, coming from the US, I have no idea how these records operated in Europe. I can imagine they got radio play. But not in the US. So my view is slanted by this. In the US these were all anti-Pop albums with no airplay, except in a few major cities. They had to be hunted down. And this camouflaged cover, in a way, also carried this metaphor of a product hidden in the marketplace, hard to find, elusive. But present. I like this metaphor – it predates the queer motto “We are everywhere” by a good number of years. Read the rest of this entry »
Im Gespräch mit Cio D’Or über “Upekah” von Son.sine (2000).
Neuseeland ist eher nicht für elektronische Musik bekannt. Wie bist du auf Son.sine gestoßen? Kennst Du andere Produktionen von diesem Künstler?
Ich hörte ihn das erste Mal in einem Mix und verliebte mich sofort in den Track, unwissendlich, wer der Künstler ist. Danach brachte mir ein Freund einige Tracks von sich mit, sowie auch diesen. Da kein Name auf dem Wav-File war, wusste ich noch immer nicht, von wem das Stück ist. Bei meinem letzten Radiomix für Oceanclub baute ich ihn mit ein und er war das einzige unbenannte Stück. Erst Chris von mnml ssgs meinte dann „Wow…there is Son.sine’s „Upekah“ from Nurture“, und somit konnte ich ihn endlich orten. Andere Produktionen hörte ich mir noch an, die mir auch gut gefallen haben, aber „Upekah“ ist für mich nicht zu toppen. Neuseeland scheint ein guter Ort für Musikproduktionen zu sein.
Wie würdest Du diese Platte beschreiben?
Unendliche Tiefen mit einer zärtlichen und berührenden, fast schmerzenden Schönheit, die sowohl Trauer als auch Glück in sich trägt. Mit einer großen Portion Sehnsucht und dennoch Hoffnung und Unendlichkeit, einem grandiosen, subtilen Rhythmus und die Auflösung heißt: Vorangehen, nach vorn schauen, und dennoch den Moment leben und bejahen. Am Schluss hat der Track sogar etwas Forsches und Treibendes. Einfach eine großartige Widerspiegelung diverser Emotionen und absolut Weltklasse in ihrer Vielschichtigkeit in dieser Kategorie Musik! Wow! Danke, Son.sine! Read the rest of this entry »
In discussion with Jorge Socarras about “You Forgot To Answer” by Nico, from the album “The End” (1974).
What makes this song so special for you? Are there personal experiences involved or is it more a decision of musical taste?
For me a song that is truly special effects a seamless conflation of aesthetic and subjective elements. The combination allows me, as listener, to at the same time admire and experience the song. We could say that it blurs the distinction between objective and subjective, balances the either/or of the question. This is precisely what I find so special about “You Forgot To Answer”.
Nico seemed to be very determined and uncompromising with what she wanted to do as an artist. How would you place this song in her musical history?
I see this song as representing the pinnacle of her musical achievement. The artistic promise that she showed on “Chelsea Girl” and “The Velvet Underground with Nico” is at “The End” stage fully realized. Not to say that these early achievements aren’t beautiful and worthwhile – on the contrary. But her artistry is most unmistakably individuated and formidable on “The End” album, especially in “You Forgot To Answer”. That uncompromising quality you mention is so articulated and refined in this song that one could almost interpret it as a refutal of her earlier, more celebrity-identified persona (or personas). John Cale, of course, played no small part in Nico’s coming to artistic maturation. Their creative relationship was so evidently mutually inspiring – she playing muse, he Svengali. She was the ideal songstress and he the ideal arranger for the quite serious music they envisioned. Read the rest of this entry »
> Love Unlimited Orchestra – Welcome Aboard (1981)
I found it interesting that this record sounded already a bit like what Metro Area were doing later on.
It is a very unusual track, especially for the time it was produced. There was not a lot then sounding like this. It almost has a housey touch, and a very beautiful atmosphere.
The track title is very telling, it is the perfect way to start a set.
Exactly, we did a show for betalounge.com once with Smith N Hack and used this as the first track.
The sound is very romantically space-like. Is this something you look for in disco? Some kind of futuristic touch?
Well, here it is a feature that definitely attracts me. I also like that it is so reduced. I like tracks that are special and unusual, like this. It is very straight, there is not too much happening in it.
Barry White kind of transformed his symphonic kitsch into something completely different with this production.
The beat almost sounds like it was sampled, very strange. I think it is a warm up bomb.
Your productions are normally not associated with sounds this mellow.
Yes, but this has this certain straightness to it, and I always like that. They hold this sequence for the whole track and just add strings and vocals, and the beat just goes on.
> El Coco – Cocomotion (1977)
This goes right back to your first Sound Stream 12”. I found it interesting that you just used a tiny weird loop, instead of its catchy bassline.
Yes, I often just get hooked on single parts and sample them. “Motion” was more like an edit. It is just a loop which then gets chopped up a bit. I like the loop because it holds the tension for so long, it’s very trippy.
But it is a very special approach to editing. You certainly were not aiming for authenticity or better DJ use.
It is kind of how it started. The first re-edits in Chicago for example. They looped bits and extended them until they developed a hypnotic quality. I think Ron Hardy initiated that. He rode a loop for several minutes and after a while it just sucked you in. This repetition also goes back to James Brown. His band played a riff for a while, then a break came on, and then it started all over again.
So you decidedly edit music to achieve a track-like quality?
Yes, definitely. With nearly all my productions I try to last long with little, and it is the same with other music I like. Simple tracks that don’t need much to hold attention for quite some time, instead of losing that after half a minute.
I remember hearing a Ron Hardy set a while ago, where he extended just the break part of Isaac Hayes “I Can’t Turn Around” for ages.
Yes, they reissued that tape edit recently. It sparked early house, like “Love Can’t Turn Around”. It is basically the same, they took the tape loop and replayed it with synthesizers, and some additional bassline and piano.
What do you think of edits that keep the arrangement of the original and just tweak the beats?
No. Something new has to be created in the process of editing. And as a DJ, I’d rather take a real drummer and fight my way through the timing. It’s funkier than a streamlined edit. That makes no sense to me. It’s okay if you have track with a wonderful part in it and then a break follows with guitars or something else you just don’t want to have. But an edit ultimately has to lead to something new.
Ihr habt ja schon einiges erreicht, obwohl das Label noch gar nicht so lange existiert. Was euch damals dazu gebracht Permanent Vacation zu gründen?
Tom Bioly: Im Juni 2006 kam die erste Compilation raus, also fast drei Jahre her. Wir haben uns damals bei Benji im Plattenladen kennen gelernt. Dann haben wir festgestellt, dass wir beide die gleiche Musik super finden und das, was wir machen wollten, gab es nicht so richtig.
Benjamin Fröhlich: Vor allen Dingen in Deutschland gab es das nicht.
TB: Ich habe damals bei Compost gearbeitet und wusste wie man das macht, ein Label zu gründen und was dazugehört. Und dann hatten wir beide die Idee, das mal auszuprobieren.
BF: Eigentlich hatten wir beide unabhängig voneinander vorher schon so eine Idee, und dann war es die logische Konsequenz es zusammen zu machen.
Sehr Old School, zwei Gleichgesinnte treffen sich im Plattenladen.
TB: Stimmt (lacht). Wir beide kannten ja viele Leute, die in dem Bereich unterwegs sind, DJ-Freunde oder über Compost, aber es ist dann schon etwas Besonderes jemanden zu treffen, mit dem man bei Musik geschmacklich zu 99% auf einer Linie liegt. Das ist meistens nicht der Fall.
BF: Aber es ist auch schwierig so was zu machen, wenn man darüber streiten müsste was man macht.
TB: Was wir machen ist ja auch ein bisschen spezieller, nicht so der Konsens-Sound, oder der TechHouse-Bereich, wo man sich vielleicht besser einigen kann. Read the rest of this entry »
Peter Kruder – The Law Of Return (Macro) Red Sparrow – That’s The Way Of The World (United States Of Mars) Santiago Salazar – Arcade (Stefan Goldmann Mix) (Macro) Technose Distrikt – Untitled (Rush Hour) Katelectro – Plug (Ultradyne Remix) (Mighty Robot Recordings) DJ Sneak – Fear The World (Defiant) Reggie Hall – I’ll Keep On Workin’ You (Urgent Music Works) The Pig – Are You…? (Rush Hour) Aaron Carl & Benjamin Hayes – The Struggle (Remix By The Plan) (Wallshaker) DJ Sprinkles – Sloppy 42nds (Glorimar’s Deeperama) (Mule Electronic) Raudive – Tul (Macro) Pépé Bradock – 100% Coton (Kif Recordings)
As a respected journalist, in many ways you educate your readers. Would you say that this comes across in your DJ sets as well?
To a certain extent. In the days before the internet made all sorts of musical knowledge easily accessible it was more important, because apart from what you could gather in the print media and some specialist TV and radio programs, the DJ at the club was the one to offer the glimpse of what was going on. I have benefited a lot from the skills and taste of DJs like Klaus Stockhausen and others back then, who knew what music really mattered and who also knew how to best spread their knowledge as an intense party experience. If that works, it is the perfect way of learning about music. I was always interested in the historical context of culture and I like to connect the dots between prototypes and later developments and so in the past I felt the need to adopt that, playing a lot of records I felt missed out on the deserved recognition along better known stuff, in order to make people wonder and dance at the same time. I still do that, but now a lot of the rare records I would say are worth discovering are very likely to be discussed on specialist boards anyway, and you can easily gather the information with a few clicks that once took quite a while of digging and research. But this inevitably led to DJing with a mere collector’s approach, which often results in a showcase of rare items and not in a good party. I also don’t like when such sets are presented like the real deal and authentic, as I have been around clubs for a long time now and DJs playing whole nights of just obscure music were the absolute exception. I am very aware of the privilege of having been there when some the music people still dance to today was in early progress, and so I like to play older records like I remember them being played at the time they were introduced. And of course I use the web myself to learn how pioneering DJs played certain records in certain clubs. That is not obliging for how I choose the records for the night, but it satisfies my curiosity. I always make a few steps forward and a few steps back with what I play, and I reserve the specialist program for radio shows and mixes I make or get asked for. For gigs, the way I put my record box together has always been the same, I just pack the tracks that I would like to dance to if I was attending the club the same night, and that’s it.
Tell us a bit about Macro and the label’s plans for the future.
Macro was conceived by Stefan and me to be both a platform for his productions and other music we like, with no artistic and stylistic restrictions apart from a high quality standard. We just wanted our label releases and identity to stand out via artwork and concept from other output we deemed interchangeable and risk-free. Thankfully our ideas caught on so quickly that we got approached by other artists and producers we admire who like the idea of releasing on a label that is laying emphasis on individuality and some lasting impressions instead of just exploiting the trends of the season. You can hear some of the results in this mix. There is a track from our first release this year by Oliver Ho as Raudive, Stefan’s stunning remix of Santiago Salazar’s “Arcade”, which is about to hit the shops, and a track from the forthcoming 12″ Peter Kruder produced for us. Furthermore Stefan’s edit experiment with Stravinsky’s “Le Sacre du Printemps” is going to be released in early June and later this year we will unleash a very special album project with an accompanying series of 12″s, the preparations of which have kept us well busy and buzzing with anticipation since last year. We think it is quite a sensation.
You are known for fusing Disco and Classics in your DJ sets. What changed in your approach for the Sweatlodge set?
I still play a lot of sets where I combine Disco and other related older genres with modern electronic music, but I don’t want to do so per se. I like to treat every set as a new position, be it topical, stylistically or based on a certain purpose. This is basically an excerpt of some favourite sounds I play at the moment as a DJ representing Macro. A hopefully coherent mix of old and new. On another day it could have turned out to sound completely different, but this is how I felt it should be at the time I dropped the needle on the first record. Generally, I have a lot of records to choose from and I try to make good use of that.
Where have you played in the past that you would really want to re-visit again?
We just had our first label night at Panoramabar, and that was predictably an experience I very much look forward to repeat. I also did a nine hour plus back-to-back Disco set with Hunee last Summer at Picknick’s yard which was quite immense and shall happen again. Berlin is buzzing with great clubs, partys, DJs and devoted dancers at the moment, but I have no preferences but a good night out, and I have no doubts I will have some of that for the rest of the year. I’m also looking forward to some gigs lined up beyond Berlin, because I like to travel around and witness some other cities and the according scenes. We’re also working on taking the label out for some dates, and I happily await some fine experiences lying ahead of me with that.
> Backroom Productions – Definition Of A Track ( New York Underground Records) 1988
A rare tune from 1987. Indeed nothing but a track.
I knew this from the vinyl edition of the DJ-Kicks by Terranova. At that time it fit right in with what they were trying to represent with that compilation. I used to play this track regularly back then, it was very good for warming up.
So you actually know this for quite some time then.
Yeah, of course! I was not into Terranova that much, but the compilation had some brilliant tracks on it. East Flatbush Project and such.
This has some kind of Hip Hop vibe to it, too. But it does not exactly sound like 1988.
No, and I didn’t know that (laughs).
Would you still play it?
Definitely. I don’t know when and for what occasion but it is a class track.
It somehow reminds me of the bonus beats they used to have on the flipside of old House records.
Yeah, but bonus beats have gone out of fashion a bit, apart from Hip Hop. Argy had some for that Sydenham track “Ebian” on Ibadan last year. But I think it is not really relevant anymore for the current generation of House producers.
The percussive elements really distinguish the sound of that era from today’s productions. Lots of handclaps, or here it’s rimshots.
My problem is that I don’t really like all these percussion sounds from drum machines. I prefer sampled real instruments. This is probably some classic Roland drum machine, like a 606. I would take the bassdrum and hi-hats from somewhere else. The toms of these old machines are always cool, but the bongo sounds for example are not for me. I wouldn’t use that for my productions. I couldn’t do these 100 % authentic references. I think it’s supercool to listen to in a Prosumer record for example, but I couldn’t do that.
You got qualms about doing something like that?
No (laughs)! I’m just working on a new track for which I sampled an old Amen-break. I don’t care, if I like it I use it. This kind of break is in 90 % of all Drum and Bass tracks and nobody cares, so I don’t care either.
> Phortune – Unity (Jack Trax) 1988
This is an old track by DJ Pierre, from his Acid House days. But it is different to most tracks he produced back then. It is pretty deep.
It’s great. Awesome vibe for 1988, I could listen to this all day. It doesn’t tranquilize my feet, it’s not boring, it’s perfectly right. And I would grin from ear to ear if I would hear this in a club.
Some of its sounds have aged really well.
I really like this. I think it’s a pity that there are not so many tracks with great basslines at the moment. There are a lot of simple, functional basslines without much of a melody. Of course it’s effective and some current tracks need some of these dominating, functional elements, but a track like this for example needs a bit more, and I miss that. It’s also simple, but it has more and different harmonies. I like that, it gets me hooked. I would love to buy this on Beatport (laughs)!
This is a 70’s reggae track by Jackie Mittoo. It’s almost Minimal, very basic.
True. It’s got some Techno appeal, it’s just rhythm. That’s what I like about this Dub stuff, there are so many things you can recognize that were used later on in electronic music like House and Techno. Dub was so important for that.
So these ancient production techniques are still valid? There seems to be a direct line from Jamaica to today’s productions.
Yeah, I listen to Dub. I don’t listen to a lot, but I like some of it. But I like to use the state of mind of Dub in my music. It’s more a musician thing. I like to use the techniques of it. I’m getting more into the music, too. It’s amazing, the way they were mixing the bass and the drums in the 70’s. Really crazy.
They also put some emphasis on just doing tracks, not songs.
It really is the basis of what came afterwards, from Hip Hop to House to Techno. Drum and Bass also, of course. They all took elements from Dub, that’s really interesting.
> Yukihiro Takahashi – Walking To The Beat (Pick Up Records)
The next one is by Yellow Magic Orchestra’s Yukihiro Takahashi. A Synthpop track.
It is interesting. It has this kind of proto-House feeling. What I really liked was this crazy soprano sax solo at the end. It is almost like Free Jazz, for 30 or 40 seconds, and then it stops. That was quite bold.
I think he actually wanted to do some kind of pop hit though. The singer on this record is the one from the 80’s pop group Icehouse for example. But for a pop hit it is probably too weird.
I think the harmonies are built up quite traditionally, but this solo part really surprised me. It is almost like New York ‘s Post Punk era. Trying some new crazy stuff.
Maybe you should use some sax solo in a House track.
Well, I used to play sax in the past.
Really?
Yeah, for a long time. But I kind of really got tired of the sound and I don’t think I’m going to use it. But you never know. I started playing Alto Saxophone when I was 13 years old. I had tried piano a few years ago, but I wasn’t so much into it. I don’t remember why I chose saxophone, but I remember I wanted to do a wind instrument. With the saxophone, I learned to play jazz and I absolutely loved it! I began rehearsing with a few bands, mostly Jazz or Funk groups. When I discovered DJing, I was instantly hooked and I started playing less and less saxophone, until I quit around 2001. DJing, collecting and discovering music became more important for me. I dabbled into production around 1996, but got a home studio setup two years later. I remember that my main reason for producing was that I found that certain records were lacking something or were arranged in a way that I thought was not so effective. I was thinking “Hmm, the producer should have put this part first” or “the chord there doesn’t sound nice although the beat is dope”. After a while I just thought I should make my own tracks.
I remember that a lot of the early Deep House tracks used the same sax sound. Really flat and synthetic. They seldom used a real saxophone, always this cheap sound effect.
Die Divenschnipsel und die wohligen Flächen können bei vielen Trittbrettfahrern der House-Wiederkehr nicht darüber hinwegtäuschen, dass sich der aseptische Grundklang nur schwerlich mit den tradierten Grundfesten des Sounds vereinbaren lässt, und sich entsprechend auch nur rudimentär von der Preset-Beliebigkeit der TechHouse-Schwemme der letzten Jahre unterscheidet. In der Flut solcher Missverständnisse ragen schon seit geraumer die Produktionen vom Stuttgarter Boy Wonder Danilo Plessow heraus, der eben genau jene notwendige Emotionalität und Dreck in seine Tracks impft. Die Geschichte mit House und dem Feeling halt.
Wobei es eigentlich seit der Teenie-Genese von etwa Ron Trents Frühwerk nicht weiter verwundern sollte, dass jemand in jungen Jahren schon dieses Feeling aufweist. “Das Thema mit dem Alter ist zwar schon in Inverse Cinematics-Zeiten überstrapaziert worden, aber trotzdem: ich habe schon sehr früh angefangen, Musik zu machen. Erst am Schlagzeug, dann mit billigen Software-Sequencern. So sind die ersten Releases auf Pulver entstanden. Durch Jazzschlagzeug und die Liebe zu Hip Hop und das Finden von Samples begann die Suche nach Jazzplatten. Ich bin in einer Kleinstadt mit nur einem Plattenladen aufgewachsen, aber da der Typ auf Death Metal spezialisiert war, konnte ich mit Schülergeld an einige Schätze kommen. Unter meinen ersten fünf LPs waren John Coltranes “Love Supreme”, The Awakening auf Black Jazz Records und auch Moodymanns “Silent Introduction”, wobei mir letztere erst mit 15, 16 Jahren, nach dem ersten Clubbesuch, so richtig als Meisterwerk bewusst wurde. Das war noch in den Anfangszeiten des Internets, d. h. man hatte noch nicht die Möglichkeiten in Sekunden an jedes Release zu kommen, war auch gut so. Ich hatte also nur meinen kleinen Mikrokosmos aus wenigen Platten, die ich immer wieder hörte, und ich hatte Glück, die richtigen für mich zu erwischen.“ Read the rest of this entry »
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