Archive for October, 2009
Bleep.com is an online music store. As a retailer of music and media from some of the worlds best independent record labels (predominantly electronic music), Bleep has developed over it’s 5 year history culminating in the merging of Bleep.com and Warpmart.com earlier this year.
There are 2 positions that are available.
Bleep is looking for a bright, enthusiastic intern to join the team for a minimum of 2 days a week for a minimum of 2 months to assist in content and label management. This will involve immersing yourself in the Bleep catalogue and assisting in ensuring it is cataloged and maintained to a high standard. All we require is a genuine passion for music and a desire to work in the digital sphere. However advantageous skills include, a high level of ability using computers including HTML/XML/CSS, a wide knowledge of music and attention to detail.
Applicants should send a C.V. and covering letter to firstname.lastname@example.org.
Travel expenses included
Based: Kentish Town – North London
Bleep is looking for a bright, enthusiastic intern to join the team for a minimum of 2 days a week for a minimum of 2 months to assist with online marketing. This will role will be working with the marketing team, assisting with both the weekly running of the store and lending a hand with one off projects and features. We require is a genuine passion for music and a desire to work in the digital sphere. A successful applicant will be both creative andself-driven. However advantageous skills include, a high level of ability using computers including photoshop, illustrator and, HTML, and attention to detail.
Applicants should send a C.V. and covering letter to email@example.com.
Travel expenses included
Based: Kentish Town – North London
On Wednesday October 28th sees the London debut of Nosaj Thing. Hailing from L.A., and being part of the Brainfeeder crew – this looks to be a pretty special show… We are selling tickets on Bleep now but if you are feeling lucky, we are giving away a pair of tickets for the event….
Simply e-mail firstname.lastname@example.org and simply state the name of Nosaj Thing’s album released this year…
To celebrate BPitch’s 10th Birthday and our special feature, we decided to catch up with the head-honcho herself….
+ Berlin is obviously very close to your heart. What it makes it one of the most the unique cities in the world and how has it changed in the twenty years since the collapse of the wall?
The wall separated us. At that time the city was occupied by the military and hence everything was neatly arranged to keep things “in good order”. When the wall came down, the DDR was already at its end and democracy was established.
For me as a “Wessi” (that is how we used to call people grown up in the Western sectors of Berlin) it was just great, since I finally had the chance to discover the East: I used to take my bicycle and have endless rides into the East. Within a few months I had a new circle of friends, it was just gorgeous Lots of underground bars, clubs and spaces came up in a very short time. Everything was just so new and exciting. The art scene moved towards the East, here there was enough free space for creative development. However, after the Wall collapsed the East had to fight against poverty and many lost not only their jobs but also their identity.
+ When you first started out in the early nineties how did the rhythms of Detroit and Chicago inform your DJ’ing, your music making?
The independent record store Hardwax situated in Berlin (Kreuzberg) since the early Nineties, has significantly coined my musical taste. During that time I was resident at Tresor/Globus club and its label was actually the one that built and established the axis between German/Berlin and American Techno. At Tresor I had the chance to listen to most of the important DJ’s from the US such as Blake Baxter, Jeff Mills and Robert Hood. During the nineties I was into English Electronica and US- House, minimal Techno. Before that I was crazy about Kraftwerk and the Neue Deutsche Welle as well as Steve Reich and Bach.
+ You have played out all over the world, how do you see the current condition of DJ technology, crowds, clubbing and raves?
It is amazing…I am totally addicted to music; playing the tracks I love and sharing the gorgeous feeling music can give with the dancers in the club, that is what really kicks me. I love to travel and of course sometimes things get boring since the mechanisms are always the same and situations repeat themselves over and over again. But it is like that and at the end it is all about good and hot music, which is the sole thing that pushes me to go on….
+ Punctuating your finest work is a commitment to pop arrangement and melody, are their any artists outside the underground who have influenced you/continue to inform?
Under the pop artists that have mostly influenced my music I would count Björk, Kraftwerk, David Bowie….I love these artists as they never stopped shining. Of course all the sounds I perceive, the sound of the sea, of doors, of the tube…all of them influence my sound. In some way hearing is “the champagne of my day”.
+ Throughout its history the techno landscape has very much been male dominated, have you been motivated by this and why do you think their has been so few female voices?
I think nightlife is something that females don’t like that much as males do. The madness, the drinks and the cigarettes and sex in the toilets…hehehe. Generally the deliriousness of clubbing is closer to men than to women.
In Germany many women lead booking agencies, and it is generally pretty common that women work in the background. However Germany is packed with female DJ’s, over here it is rather a normal thing.
Through the fall of the Wall the whole music/creative-scenario changed: the old communities couldn’t keep the positions they had up till then. Many new and very active groups of every kind came up and in this context there was enough space for both women and men.
Thanks to the growth in tourism all these new ideas and movements found their implementation. Especially a big number of ravers who come all the way to Berlin in order to live the endless party this city offers….here you are allowed to do that.
What great luck!
+ Tell us about your experiences in the early nineties when you organised parties in Lichtenberg Youth clubs how did that come about?
I was 15 years old and Paul Kalkbrenner and me, we organized our first parties in the East Berlin ghettos where we grew up. In the beginning we had to play with pop chart DJ’s and hip hop DJ´s during the same night, but after some months our sound became more and more successful and we began to run the whole night, actually “evening”, cause these youth clubs opened every Friday and Saturday from 8 pm till midnight. We didn’t have enough records to play so sometimes we played one track 3 times! After these parties we went to the “real” clubs like bunker Walfisch or e-werk to see and dance to our dj-idols.
+ You are quite the prolific remixer, how do you go about tackling a project from when you first get approached to the final mix-down?
I always try to find the mood of the original track and reproduce this mood. For me it’s not the point to use melodies the same way, it’s more interesting to play with the feeling of the original. I general I prefer doing a remix for not too clubby tracks. It’s more interesting to play with the instruments or vocals and set it up in my personal club version, instead of having just one minimal hook and percussions.
+ Although you are very closely connected to the German techno network which other labels and artists have informed your music from the rest of Europe and beyond?
There are many more but off the top of my head Dial, Kompakt, Freude am Tanzen and Dynamic.
+ This year marks ten years for Bpitch, having worked alongside Bpitch for a while now where do you see the label developing for the next ten years?
I still see us as a very eclectic label. We express electronic music in so many different ways, especially on albums. We always tried to set the focus on more than just 12″ club tunes. For every one of us it would be too boring to do that. I listen to so many other different music styles. I am sure we shall continue this way.
+ What plans do you have for future releases, collaborations, and a follow up to 2008’s Mango?
I finished a track for our 10th anniversary and a new single is almost done, a few remixes as well. And I will definitely start with a new album soon.
+ You were born and raised in Paris, what would you say are the most fascinating differences in clubbing and electronic music between the French capital and Berlin, where you now reside?
The first main difference are the parties are almost endless in Berlin , In Paris after 4:AM , people have to go back home.
Most of the club scene in Berlin goes deeper conceptually, for example Berghain , there are no mirrors, pictures are forbidden, forget what you look like…A Serious Concept , A Serious Team …
There is not really after parties in Paris. People are younger in the clubs in Paris.
More privacy, More freedom in Berlin . Techno Culture is different . Culture in itself is different.
I invite everyone to visit Berlin , however I wouldn’t say that one is better than the other.
For example , I played the 22th august at a Social club for Get the Curse a very talented promoter , It was really nice , I had lot of fun , I found a fresh energy in this club, in this party, something I couldn’t find or maybe I would not be looking for in Berlin .
Same for Rex Club , when I played there a few months ago with Ellen Allien and Okain . Big Party!
But no damn after party… I remember also the Scream party in Elysee, Montmartre it ahs been over 4 years since something like that, Weird, crazy and totally original.
+ The Dimuschi Parties you set up with Paul Ritch in Paris sound amazing, tell us a little more about them…
Dimuschi is a concept from Laurent Baylet and Patrick Bamberger, We met each other by a communal friend, Sandra. They did the last one 3 weeks ago and I guess they are working on something new. They look for a different place for each party.
I played the one under the Alexander III bridge (next to Champs Elysee) , with my friends Paul Ritch and Okain . The after party was on their friends boat right opposite, on the Seine. 50 people joined the after party, the last veterans. No police this day, I remember there was a football match on television or something …
The night was really special, something that doesn’t happen so often in Paris .
+ What attracted you to sign for BPitch Control?
Bpitch Control is a big label. I was looking for a label with whom I could build a close relation with, to work and stay with for a while. I met Kiki first and Ellen and Sascha Funke and we became closer.
Bpitch control is really a part of Berlin , when I arrived here in Berlin, 18th may 2007, right from Paris, I was really seduced by the city, excited to deeper understand the culture, and to work with real Berliners . It was hard to know where to go as a young artist. Finally we decided to work together, they accepted me, and now they support me to go on this way.
One thing really strong with BPC is this multi music style; it gives me freedom for my future project. Thinking about the concept of my first album, bpitch give me many inspirations, like Berlin !
+ When constructing a track for the floor, where does your primary sensibility lie? in the making of rhythm or melody?
About this question, I would like to answer short. The beat make the people moving their ass, the melodies make them dream.
+ What do the words minimal techno mean to Thomas Muller in 2009 and beyond?
2009, the year of the crisis ? In contrast, globally this years minimal brought to techno more air , more breath . I remember the sets of Jeff Mills, Carl Cox, Dave Clark, and many more 5 years ago it was super fast, short transition, cut on the X-fader , cut bass , boum bim boum bim boum, reverse scratch on the vinyl , bass on , arms up !
These days minimal techno uses big sub sounds for feel, you can ear the groove of the bassline under the rest of the drum. The FX processing has more time to push the people, it’s a kind of progressive music much more than the techno.
I think the minimal concept brought to every style of electronic music one new aesthetic ; It’s the reaction against the synthesizer from the nineties .
What this word means to me, it just seems to be the music I produce; I’m not a hard activist of minimal techno. First, because it’s just an evolution and second, because, these days everything moves so fast. We can easily get confused.
Whatever, I strongly believe in electronic music, I like to create music without any solid musical instrument , just direct from my mind , virtual to virtual , my mind to there mind by sound waves . I LOVE IT. I like to create the music from beginning to the end, to understand what happens at every step in the process of building a track. DJ Koze and Riccardo Villalobos for example have a particular aesthetic that remembers Cubism . Their sounds are not always balanced; sometimes it’s purposefully too bright. It doesn’t follow the classic mixing rule that I once learned in my sound engineering school. Electronic music is still young, I’m happy to be an actor of this movement !
+ What was it like growing up in Helsinki and how did the place impact on your approach to music?
Helsinki, and Finland in particular, is a place of extremities. cold and dark winters and warm and bright summers for example. In Winter you tend to get into things that you can do at home, like music for example, and in summer you come out of your cave and want to celebrate and share it with everyone, the Vikings used to call Finns “the crazy, dancing folk”.
Since I’ve been in Berlin, I think I am still inspired by the darkness and melancholy, but also, strangely, I try to express it through a positive energy. Extremities!
+ You studied Architecture in Berlin circa 1994, do you personally feel any close synergy between the buildings of a city and its music?
Techno is technologic music and architecture is a very technology based art. I see very much in common in the thinking and also the creative process. I am also always very inspired by a room where I play, trying to create sonic architecture that fits to the atmosphere. I am not so much inspired by the architecture of a city within my music though, rather every day things…
+ Away from Berlin you have a strong reputation for a being a truly a global DJ, in your experience where have you enjoyed playing most?
There are so many places that have unique regional qualities. I would be lying if I wouldn’t say Berlin is my number one, as there is a very special club culture in terms of opening times and interest in music and clubs like Panorama bar and Watergate. But there are also so many places that have a special energy even when you might not expect it. For instance when you arrive after a long travel in terms of connecting flights and 2.5 hours drive and you find this amazing crowd knowing about what you do and giving their everything! I had so many good times in Mexico, Spain, Italy, France, U.K, Brazil, Germany, Finland and the list goes on…
+ Your most recent album Kaiku seems a more introspective, contemplative affair than previous releases, do you see this as an inevitable step towards maturing as an artist? Leaving the club for the headspace perhaps?
I am certainly not leaving the clubs, that’s why we are taking care of the remixes for the album’s singles, but for me an album has to tell a story and be much more than just a collection of club tracks. Even in a club context, I am interested in things that do a bit more than just force you to jump up and down. Also my first album tried to work along the same lines, but I would call “Kaiku” more mature as this time I succeeded a bit better in my vision, I’d say.
+What’s upcoming for Kiki, do you want to concentrate on Dj’ing/ mixes like the Boogie Bytes series, or is their another full length album underway?
First of all, we have loads of remixes coming from the album, first one being “Immortal” with Anja Schneider, Holger Zilske, subb-an and myself on duties. The third single is also being planned at the moment. And, there is a bpitch control compilation coming out in the beginning of next year, the first single will be a split by Sascha Funke and me. Their are also lots of remixes I’ve done for other people coming out one by one plus all the touring of course! I’ve just moved to a new studio as we speak and I’m pretty sure it will inspire me to come up with lots of things in the future… stay tuned!
We have managed to grab a pair of tickets for this, and are kind enough to be giving it away to one lucky person. To win, simply e-mail email@example.com and tell us why or explain why you like butter… Honestly, just tell us why you like it.
Those guys at Soundcrash have put together another stellar line-up of bass-heavy music featuring Bleep favourites Harmonic 313 and Daedelus. The event will be at London’s Village Underground.To win a pair of tickets, simply e-mail firstname.lastname@example.org and state the name of Harmonic 313’s latest full length album is…
You are currently browsing the Bleep Blog blog archives for October, 2009.