Anoesis steps into this new Times & Tunes fresh off the release of Idios Kosmos, a five track EP that captures the London producer at his most confident and exploratory. Known for operating where club power meets cerebral sound design, he’s carved out a space for tough rhythms, immersive atmospheres and a restless, genre-blurring approach that moves between techno, house, breaks and rave futurism.

This new record feels like a deep dive into his own sonic universe — dark, euphoric, twisted and intensely physical — the kind of music built for late nights, early mornings and the headspace in between.

INTERVIEW

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All modern dance music (or music in general) is a mixture of the old and new, but taking a strong inspiration from the past whilst also cementing your own unique and authoritative sound is something so few people manage to do. That is exactly what Younger Than Me have done, their sound is an unapologetic love letter to the heady peak days of the 90s. Taking influence from Progressive House, Trance, EBM, Breakbeat, and Techno ideas but incorporating that into their own take on what this should sound like.

Francesco Mingrino has been releasing music across a host of well regarded labels, from Jennifer Cardini’s “Dischi Autunno” to the Tusk Wax offshoot “90’s Wax” and many more, each record has been a must buy record and a good example of Francesco’s passion for the music and the dancefloor experience that creates. With his debut LP just around the corner, we felt it was high time to get him back on the site to talk a bit about the music that inspired his music and his LP “**The Golden Age Of Love**” specifically, from the original cornerstones of modern music as we know it, to more obscure pieces you might not know.

INTERVIEW

Hey Francesco, great to have you back! How does it feel to be releasing your debut LP?
Hey guys, happy to come back :) Finally, it’s out, lol. It was a very long wait, taking about 3 years from when I finished the LP until the release date – perhaps too long. Listening to the tunes over and over for two years made them feel old. Music is constantly evolving, as am I, but with all the positive feedback, I can say that it was just my initial feeling, and I’m really happy about this LP. It’s an album, so no need to focus on dancefloor bangers; it’s more of a retrospective of the artist, even though I still play some tracks like “Zaratustra Dance” and “Sadness is the Only Way to Happiness” in all my sets.

Where did you produce the record, and can you tell us a little bit about your studio and how you produce a record?
I decided many years ago not to focus solely on analog production because it limits the creative process. After that decision, I streamlined my studio to include only the gear I really use, along with digital plug-ins. You can hear all my productions featuring my favorite synth, the JP8080 from Roland, plus my baby Electribe, the Yamaha dx200, and the Emu extreme series.

“The Golden Age Of Love” is a vibrant homage to ’90s rave culture. What draws you to this era, and how do you balance nostalgia with innovation in your music?
I’m a ’90s kid who grew up in the late ’90s and early 2000s. I began my ‘raver career’ with Tekno Illegal Parties featuring Spiral Tribe, Teknambul, while also listening to Francesco Farfa and other old Italian DJs from the ’90s in some clubs. What I really miss and try to bring into all my sets and productions is the spirit of this age. It was a real game-changer, not just the music, the crowd, the club, and the building, but the spirit of freedom and revolution. These two vital feelings were blended perfectly to create “The Age Of Love,” so I tried to find these two emotions in my music.

Your music is described as a dynamic blend of various ’90s electronic genres. How do you approach blending these styles & ideas while maintaining a cohesive sound throughout the album? What elements of that era do you find most compelling, and how do you balance these different energies to ensure a fluid listening experience?
It’s the balance of my music plus my set, my old school background mixed with new influences. I love crossover tracks and sets, and this balance gives me the feeling of movement, whether we’re talking about production or a DJ set – it’s the same. Unfortunately, what I have noticed lately is that electronic and club music has lost its political and rebellious edge for which it was born. Even the lyrics and choruses of tracks lack substance, often simply stating the name of a drug followed by a straight beat and pedal. Let’s take, for example, the track by Spiral Tribe, “Forward The Revolution.” The repetitive lyrics go: “You may stop the party but you can’t stop the future,” merging rebellion, freedom, and fun. This is what we seem to have somewhat lost in our days compared to the ’90s.

The title, “The Golden Age Of Love,” suggests a thematic focus on love. How does this manifest across the tracks, and what does “love” mean in the context of your music?
Love is everything in my life, just as it is in music. It is the cornerstone feeling that guides my existence; without it, there is no life and no music. Despite the fact that my job requires 24-hour dedication, music remains my foremost passion. It’s not just a job; it’s dedication, care, and love.

How do you see your music contributing to the current electronic music landscape?
I can talk more about the intention rather than the actual contribution; that will only be visible to posterity. What I’ve been trying to do for a while is to educate the new generations, and I feel this task is becoming increasingly important. Let me explain why: Certainly, the new generations of producers and musicians have been born and raised with modern technology, giving them greater ability to learn and use modern technology to produce a better-sounding product. However, what we are losing, especially after COVID-19, is the desire to listen to more complex music, music with a spirit, perhaps more challenging for a dancefloor but with more emotion. Just look at the phenomenon of trance pop, of which I won’t mention specific names, but the reference is clear enough. So, if even we ‘veterans’ exploit this momentary hype to make only simple dancefloor music, we lose the role of educators that we absolutely need to be for the new generations.

Considering the global influence of Italian electronic music, how do you think your Italian heritage influences your sound and approach to music production? Do you really think it’s that relevant at the moment?
I noticed that in the past, during the ’80s and ’90s, after that, the Italian influence in the global world of electronic music disappeared for years. Now we have a lot of great Italian artists, but I don’t see a proper movement as in the past, and that’s really sad!

You’ve released music on a variety of labels, including your own 90’s Wax. Does running a label influence your artistic freedom and the way you release music?
I mean, 90s Wax is not my own label. I’m the art director because that was the deal with Chriss (owner of Tusk Wax and 90s Wax) from the beginning. On the 90s Wax label, only music from Younger Than Me or collaborations with Younger Than Me are released. It’s my opportunity to release what I really feel without compromises related to marketing, etc.

Collaboration seems to be a significant aspect of your work, featuring artists like Massimiliano Pagliara, Brame & Hamo, and Pablo Bozzi. How do these collaborations influence your creative process and the final sound of the tracks?
I truly love collaboration – it’s a fact! This extends not only to 90s Wax collaborations with Timothy Clerick, Skatebard, Francesco Farfa, Massi, Pablo, and Brame, and Hamo. Additionally, there’s the Y2C project with my best friend Luca (Curses), and an exciting collaboration in progress with Maruwa. This passion extends beyond just musical collaborations; it’s the same reason why I’m drawn to crossover tracks and DJ sets. I find joy in mixing, in blending, and in incorporating new things – even the unconventional ones. It’s the authentic soul of my creative process.

Reflecting on your journey so far, how has your music evolved from your early releases to this debut full-length album?
It’s still evolving, but there was a distinct point from my early releases where I shifted away from dark disco vibes, which weren’t really my style, to embracing 90’s rave vibes that align more closely with my musical preferences. What’s intriguing is that some people still perceive me as playing and producing 80’s vibes or categorize it as a new form of dark disco. Honestly, I moved away from that quite some time ago, specifically around 2017/2018. It’s truly mind-boggling for me. It’s like, “Have you been listening to my productions and sets for the past five years before booking me? Why am I playing in a dark disco night? Why do you still label me as ‘Italo’ in my description?” To be honest, I hate Italo Disco! Hahaha.

For your playlist we asked you to pick out tracks which inspired your music or directly inspired the music on the album, which of those tunes would you mark as being at the core of you as an artist?
I can say Underworld in general was and is my core inspiration. They were the exact switch from the ’80s bad sound to a more club-oriented music. But also everything that comes from the Manchester period was really inspiring me.

In your playlist, did you pick any tracks that most people might not know? Tell us about those more obscure tracks and what captured your imagination?
I don’t know. There are many tracks that are well-known to everyone (I hope), but perhaps tracks like Liquid X or Higher Intelligence Agency could help people better understand where the music that today’s ‘kids’ call Trance or ’90s actually comes from.

Are you touring the album? Where can people catch you live this year?
Yep, sure! Europe as usual, but I’ll be in Asia at the end of May for the album tour and the classic Mexico and Colombia tour in September and October.

Now that the album is in the bag, will you take a break from production, or do you have more coming soon?
I have a new EP coming on Skylax record with two remixes from two super talented artists: Greg from France and Mahkina from Mexico. I’m also working on a new EP in collaboration with Maruwa. The show must go on! Hugs, guys.

Order now, The Golden Age Of Love on 90’s wax.

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Thomas is a Marseille born DJ and producer with a deep passion for music. After 10 years on the underground Parisian club scene Thomas moved to London to set up Burnin Music Recordings. Created in 2017 the record label is home to his own PEGASVS productions which feature house and electronic dance music releases.Put this playlist on while you read our conversation with him to get a deeper look insider his process and inspiration.

INTERVIEW

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Over the past few years, Saine has released music on a who’s who list of notable underground labels, from cult imprints like Sleazybeats Black Ops to important scene constants like Delusions of Grandeur, Voyage, and Fina. The native Finn has received widespread praise for his distinctively rich, deep keys and synthwork. Lauri (Saine) is currently releasing his second full-length album through Omena Records, another killer label, so we figured it was about time we spoke with him. In today’s Times & Tunes, the artist is presented along with the sources of his inspiration and the direction he plans to take his music. If you haven’t heard Saines’ music before, his new album “Ceramics” is the ideal introduction to his warm and low slung grooves.

INTERVIEW

Hey Lauri, great to have you on the site, we have been a fan for a long time. How are you doing?
I’m doing great, thank you. Just put some tunes on, got a fresh cup of coffee and it’s a free afternoon – looks to be a good day.

When picking 10 influential tracks from your life, how did you go about it? Did you notice any patterns emerging or was it quite varied?
I wanted to start and end the playlist with an all-time-fave kind of jazz thing. Then it seems I went for quite many ‘certified classics’ – still on a jazz tip though, it’s just that kind of a vibe I guess… Some other day it could’ve been a completely different list. Anyway, I mostly picked out tracks that made an impact on me when I first heard them and which have somehow followed my production style ever since, like Janet’s Got ‘Til It’s Gone from 1997 was the first time I heard a Dilla beat – I remember stumbling upon it on the night time radio when it was just released. Big moment. Moodymann’s Runaway was an eye opening thing on how a 4/4 thing can really -move- and how it’s always about slowly ‘unraveling’ a groove as much as it is about creating a single moment. Then, some tracks are just there because their atmosphere was always such an inspiration, something to strive to.

Tell us a little bit about your background, how did you come into making records?

I’m a small town guy originally and as a kid, somehow started getting excited about things and cultures which were practically non-existent where I lived, like skateboarding and hip-hop. It was a town of 7000 people in the middle of Finland… I guess this stuff represented something completely new and different. Then, late 90’s the internet emerged and I was so much into all that. I always hated telephones, I still do to this day – it was mindblowing to be able to communicate via IRC to anywhere in the world. I was doing tracks on FastTracker II on our living room PC and was very much into the demoscene – and in the early 2000’s I started doing stuff with the netlabel Tokyo Dawn Records which had just started putting out their music in mp3s and it was amazing – to be able to release music out in to the world in this completely new way. My first release on TDR was in 2001 I think, pretty soon I went to a polytechnic university to study music production and audio, met some likeminded folk during those years and things went from there.

Was there an artist or release that inspired your sound at the very beginning?
There were so many. Once again I’ll have to mention A Tribe Called Quest like I and many others often do, simply because the influence was so big. The combination of dark, dusty jazz vibes and skillfully produced hip-hop was a big deal – back then, to my ears, the west coast things mostly sounded quantized and plasticky in comparison to Tribe, De La, Wu-Tang and the like. I picked ‘Excursions’ for my playlist.

How do you produce your music, can you tell us a little bit about your studio and way of working?
My main DAW is Renoise, which is like a regular DAW but with a tracker workflow. When I started out I was more surgical and analytic. Now, I prefer to record longer takes and allow for some more breathing room for happy accidents. When doing beat stuff I really like to -listen- first and foremost, to how everything flows and if it really needs that compressor in the first place or that new gimmick around every corner. Sometimes these things can take the life out of tracks and it’s easy to stop ‘seeing the forest from the trees’ like we say in Finland. In the future I’d like to go more and more towards that direction – recently I’ve been working with this old upright piano which I regulated myself and doing stuff with no tempo, just going by ear and letting it flow. Then again, I still do love working with samples and strictly timed beats as well so it also depends on the current mood or what projects I happen to be involved with at that moment.

What are your main bits of kit, the pieces of equipment that are vital for Saine sound? and why? (maybe share some insight into how you specifically use a chosen piece of kit)
On one hand, there’s gear and plugins that constantly change. Something comes in, other stuff fades out. Then there are the keepers. For several years already, I’ve used my Korg Polysix a lot – my friends are probably thinking I sound like a broken record by now, as there are so many cool synths to choose from – and awesome plugins now as well – but I seem to keep coming back to to that one synth and almost approach it like I would an acoustic instrument (you wouldn’t need to ‘trade up’ from your trumpet or cello every other year right?) but yeah, it has this sweet spot that just keeps on giving. For me it’s most definitely not the effects which a always get raved about. I prefer without. I think of its filter/cutoff knob like I would treat the strings on a violin or something, it’s a responsive, living thing… Still, it’s a limited synth in comparison to many others, but I prefer a less is more approach anyways, I never got into the idea of having all the possibilities in the world to choose from at all times, I wouldn’t know where to start. As I said, I like to record long takes these days, partly to avoid sounding too chopped up or planned but also because it’s often more fun. The new album has a couple of tracks which are almost entirely Polysix + Strymon BlueSky reverb, recorded and tweaked live, such as Étude and the opener/title track.

Do you always work alone? or are there people you would love to collaborate with?
I work alone yeah, with the odd ‘unofficial’ collabo here and there – and remixes of course. But pretty much alone, it suits my workflow and also my current life situation – we have a little daughter now and I need a pre-planned system to create time for music, it’s like a NASA space program now and I keep tweaking it to perfection haha. The past months I’ve been getting up at 4 to get those extra coupla hours for music. One day when things settle down a bit, it would be awesome to collaborate some more, there are so many cool musicians doing amazing things.

If there was one bit of advice you could share with people what would it be?
For younger people it would be to focus less on hoarding gear (there’ll be plenty of time for that) and pay more attention to what makes you tick style/genrewise. It probably sounds obvious but trust me, it -is- very easy to get side tracked. Trying to force something or please someone usually doesn’t work out in the long run – it’s completely okay to work in the style -you- like, no matter what it is, just follow on that and nice things may start to happen.

For veterans my advice would be to try and maintain a childlike attitude. Like kids playing. I know all too well it’s easy to get cynical – but it ain’t good for staying inspired and motivated.

On a personal note. I quite easily lose focus and don’t like multitasking, too busy schedules or a lot of colliding signals; they can be such a buzzkill. So these days I pay more and more attention to time of year, time of day, lighting. Avoiding the news if you still have to work on something that day etc. Like, if it’s a grey November Tuesday, you’re hungry, have crappy lighting and one of those modern chairs where they make you sit like E.T. – AND you just watched the news… It’s not going to be the best starting point to focus on creating something magical. Maybe then use that time to go through emails – or do the dishes – and the next day, skip those news. Just skip ’em. On the other hand of course, if it -does- happen to be a good vibe and energy for working – then maybe don’t log onto Facebook at all and just get to working on that new thing right away, use it. The moment might be gone soon. :) Everyone’s very different in this regard of course and I know some people aren’t as sensitive to this stuff as I am, but for me it’s all about getting that good energy going before starting a day to work on stuff. I also pay a lot of attention how my studio is set up, I like everything to be ready when you need it.

Where are you based? Has it had a big impact on your sound?
Finland – after those music/audio studies, we lived in the capital, Helsinki for a little over 15 years and just recently moved to a smaller town last year. So far I’m loving it here, Helsinki is cool and all, but the bigger the city the more people are focused with working and consuming and staying stressed out, so I much prefer a slow, almost minimalistic lifestyle now – and nature inspires me a lot. I’m obsessed with film photography, too. Strangely though, I don’t really think my surroundings have had a huge impact on the sound or styles I work with specifically – again, I think it’s more of an energy thing, keeping focused etc.

How has your sound evolved over the years, is this something you are always trying to drive?
It is, sure, but nowadays I approach the whole thing a bit differently than when I was younger. I like to follow my instincts more and care about the surrounding trends less – if something gives me the chills, that reaction perhaps tells me something important that I’m not consciously aware of, so, for an artist that’s some pretty valuable information, right? So I just try and follow that as much as possible and see what unravels. This way, it can be harder to find labels to work with though – it’s a jungle out there, everyone’s trying to survive and they (the labels) mostly like to keep to a specific style which works for them. And that is understandable, of course. It has been awesome working with Omena over the years though, Tooli is always very open minded to new things and we’re just always coming up with cool stuff.

What was the last record you bought and where from?
The last one was an order from Recordsale with some second hand ambient-acoustic-ish records, these ones: David Darling – Cycles, Miroslav Vitous – Emergence and Stephan Micus – East of The Night. With that last one, I found an old signed-by-artist photograph inside the sleeve btw… Got to love vinyl <3 But yeah, wonderful autumn/winter music. I’m more and more liking records with just one or two instruments and no jumpscare-tracks in between.

Thanks for spending the time with us today! Do you have any final words for us?
Thank you for a wonderful blog, I’ve been following since 2014 – and here’s hoping for a chilled 2023 – cheers!

Pre-order “Ceramics”

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In this edition of Times and Tunes we have a slick and bespoke Spotify playlist by Barbie Bertisch whose new album Prelude is out on her own music label Love Injection Records. While Bertisch has been making zines under the same label name for the past 7 years, her musical ambition was already there from the start. This album represents the culmination of the last 5 years of Bertisch’s life and the explosion of confidence and creativity that she intentionally fostered during lockdown. A compilation of ideas that she had previously thought unworthy of attention bubbled to completion as she grew and healed past her frustrations. Put this playlist on while you read our conversation with her to get a deeper look insider her process and inspiration.

INTERVIEW

Interview by Jacob N-E.
Pictures by Guarionex Rodriguez Jr.

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After swapping his hometown of Malaga to Berlin, Carlo has been living in the European hotbed of electronic music for quite some time now. Being a true househead, Carlo released his stuff on many acclaimed labels such as Classic Music Company, Madhouse, Slothboogie and recently on his own label Aterral.

He’s also been a curator of The Circle Sessions at Berlin’s famous Watergate club and sharing the same studio with another stand-out name in the house community – Black Loops. About all that and everything in between in the QA session below.

INTERVIEW

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“I met Romain in the lively exhilarating city of Hong Kong in the summer of 2016. The musical creativity flourished and it led to much Asia-Euro collaboration. It felt as though techno, house, minimal, afro beats and 80’s funk (just to name a few) were exploding onto the scene out there. After years of much hard work – it was starting to pay off. With festivals like Shi Fu Miz, Wonderfruit, Epizode, Quest and clubs such as Social Room, Savage and The Observatory making space for house and disco music, artists like Romain FX emerged changing the scene forever.

Romain FX is a dedicated artist going from strength to strength in the industry taking a full heart and distinctly open character with him wherever he goes. The French native is committed to his artistry, crate digging and bringing people together. From opening Roofest Hong Kong’s first rooftop party, creating his own imprint Fauve Records, working with labels Black Jukebox, Fantastic Voyage, Mamie’s Records, gaining recognition from the likes of Move D (who was also a guest on the Fauve radio show), The Blessed Madonna, Orpheu The Wizard and DJ Harvey, to curating energetic heartfelt Mixmag and Boiler Room mixes and co-founding Hong Kong record store “The Pharmacy”, Romain FX is definitely one to watch for 2020 and beyond!”

INTERVIEW

It seems we have come full circle. Don’t you just love the universe like that. It’s an honour to do your first full interview and I’m just going to go straight in and ask, how do you feel the current global situation has impacted your work and the music industry?
Unreal how powerful the universe can work its magic. Straight to the point is the best. I feel this whole situation is a gift in disguise. Of course, it is straight out of a movie and also sad on so many levels, but my hardcore positivity is taking over and I think the whole world was moving to fast for human’s sake. It’s good for everyone to be able to take time to re-think, reflect and evolve. Enjoy the day by day life as best as possible. It’s a strange feeling personally to move continents during all this madness, it is a big challenge, I’ve had so many gigs lined up for my 2 month Asia farewell tour, and also very important dates in Europe and Tel Aviv, which I can sadly still not talk about just yet. But in the end, I managed to spend priceless time with my parents and sister during tough times in Hong Kong as a family instead, and also took time to settle in France and spend quality time with the grandparents and friends, and it was worth the hassle. The last bit for me was the studio, and after 2 months delay, my record collection and studio has finally arrived, so now everything is all perfect, time to get busy making beats!

I have mad love for the energy you bring to your sets, having witnessed the uninhibited joy for myself it’s evident you have this way of bringing people together to have a truly memorable time, creating ego-free zones wherever you go. What beliefs and values do you hold dear which enable you to have this effect on others?
Thanks for those kind words, I try my best! I believe that the beauty of music, much like art, is this universal language. Being someone that has never grown up in his own birthplace and have moved around places a lot, going to local schools where I did not speak the local language at first. I was drawn to music, it speaks to me as a tool to unify the cultures, with borderless feelings. For me, there is just good music and bad music, good music for me can be bad music for some, and bad music for me can be amazing for some, no genres, no borders, it’s universal, it’s a feeling – that’s the magic. I also try to find balance as much as I can in my sets, I try to play as many styles of music possible usually as I know that I am usually playing for 50-300 people and all these people listen to different music, come from different social classes and have different tastes, so for me, it is important to make everyone happy so that they have a great time. I don’t want to be put in a “box” as a DJ, when people ask me what kind of music I play, I always tell them “everything”.

It seems as though the world is slowly waking up to the realities of a deep-rooted illness which plagues the human race. Racism against people of colour. It’s everywhere, especially in the entertainment industry. As a lover of afrobeats, disco, techno, jazz, acid house we hear you embrace black music in your work. How do you think producers like yourself can contribute to positive lasting change?
Coming back to what I said before, I feel it’s great that people, because of COVID 19, are having the opportunity to reflect on the past and revolt also, it will help the whole world to move forward. As much as it might not be the same as some people might consider “racism”, I have personally lived through a marginal life as a kid, being the only white kid with blond hair in a local Taiwanese school, or being the only kid that did not attend to Catholic studies in a Catholic school, I was often seen as the odd one out and was sometimes bullied emotionally, so I can somewhat relate to this feeling of segregation. It is a horrible feeling, and it should be frowned upon. I feel though, that the key solution to this is to break those “imaginary barriers” that society has incorporated in the language and mindset. And it’s starting by recognising everyone is equal and human. So, yes I am a lover of afrobeat, disco, but also bhangra, salsa etc… it’s all just a universal language that is music, all of them are different but all as beautiful, just like all human beings if raised well with the right notions of life and equality.

I’ve had the pleasure of listening to some of your unreleased music and it’s safe to say the next 6 months is going to be exciting! With so much going on so often, do you find it helpful to have a firm schedule in place for your year or are you more carefree, happy to see what happens attitude?
I tend to be quite an organised person. I used to always have a schedule for the past 10 years, and actually, since all this has happened, it’s the first time I do not hold a calendar, and it feels amazing I have to admit haha. But yes I think it’s only a matter of time before I take out the good old calendar again. It’s important to be structured in life, to be more efficient, but also important to let go sometimes. All about balance.

A Frenchman raised in the US, Hong Kong and Taiwan, you have undoubtedly soaked up many different cultures in your life, how do you think this contributes towards your craft?
Funny enough, I would say growing up in so many different countries has given me “carte blanch” as to what is good music to me. I was never really influenced that much with music as a kid, I would only stay a year sometimes in places, so I never really had time to get caught up in musical “trends”. Which I see as an asset musically speaking. I can decide what I really like deep down on an emotional level and less on a “because-it’s-cool” level.

What advise would you give to your younger self.
Don’t go to an expensive American University! Just don’t… you’ll regret it until you’re 47 years old, but also this helps you reach for the stars haha

Which record labels have you enjoyed working with so far on your journey and why?
I don’t like to talk favourites, to be honest, all labels have a different story behind them, and all came at different times in life. I do however have a true love for Fantastic Voyage who were the first ones to pull me out of my studio and pushed me to release my first edits EP. Since then it has just gone so fast. A special mention also to Black Jukebox who I’ve been following since I first started DJing, so to be able to release on their 30th edition, for my 30th Birthday, again… the universe haha

What was it that led you into the world of music production and djing?
Curiosity & endless possibilities. I love the DJing side of things to be able to create ephemeral stories of mixing genres and emotions on a dancefloor. I love the production side of things to start from scratch and build something, to dig deep in your gut and to express yourself through sound. My parents loved dancing, but we’re never big record collectors or anything, so I cannot say I was born surrounded by records and music. I’ve had to work harder to dig and dig and dig, but I’ve also now been able to pinpoint by myself my true love for music, and I never get tired of it and discovering more every day.

You were recently in Tunisia to play at a party. How was it to be back behind the decks after such a long time of club closures and lockdowns?
Pure bliss, of course, there was different energy I felt, more wild & carefree, maybe it was just Tunisia. Luckily I had a long set, so I had time to play so many different music, was very satisfying.

Lastly Romain, are there any projects happening that you would like to share with us?
I have a couple in place yes. There is definitely one I would like to highlight. I’m working on a live performance set. Thanks to so much financial support from all my friends and fans I was able to raise enough money for my 30th birthday to be able to buy equipment for a live performance in exchange for a year of free unreleased music from the studio. I have almost bought everything and will start working on it in the next months, to hopefully have something ready for next summer for a live tour around Europe and Asia. Also, I’m working on a new series on Fauve Records, called “西 WEST & 東 EAST” which will see collaborative EPs of producers from Asia and the west. 1 original track each and then each producer remixes the other’s track. This is the bridge I want to create to link up producers from Asia to the western world to break those barriers.

Ok, that wasn’t my last question after all. Top 5 albums. Go!
Not in any particular order, and of course if I could put 20 I would:

Universal Togetherness Band – Universal Togetherness Band
Babyman – Babyman 2 劉美君 – 赤裸感覺
Saâda Bonaire – Saâda Bonaire
U.N.C.L.E.22 – The Man From… Freestyle Affair

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Label boss Aimes returns to his home base with a double track ep of chugging acid-tinged left-field techno. Both tracks implore multi-dimensional existiliast lyrics combined with cosmic leaning production. Here is his Times & Tunes:

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INTERVIEW

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Aimes aka Aman Ellis is label boss of Wonder Stories and he returns home at the end of this month to the label with a double track EP of chugging acid-tinged left-field techno. We talk to the DJ and studio wizard  ahead of his new release.

Can you tell us where you’re from?
I’m originally from Alabama but spent time in NYC before landing in Denver, CO.

How did the label start?
Wonder Stories started as a party I did with a buddy in NYC. It slowly morphed into an outlet for my own music. Eventually people started sending me demos and I started releasing music I thought was interesting and it picked up from there.

You’ve had some great artists on the label, how do you go about signing them?
A lot of times people send us music they think would be a good fit. Other times I reach out to people whose music I like. Sometimes it’s friends or friends of friends.

 How long have you been involved in music?
I’ve played guitar and piano since I was a kid and have been in bands my whole life. I started getting into music production and DJing about 15 years ago. I’ve always had some sort of hacky home recording set up, even before I started making electronic music.

 Were you a DJ before a producer?
Nope, other way around actually. I always leaning more towards the production side, but a few bookers started asking me for DJ gigs before I started DJing so I quickly learned and fell in love with it. I’ve always been a lover of vinyl records, so it made sense. That’s how I learned too, two turntables and mixer. Once you learn that way, CDJs are a breeze.

 When did the label start and why?
Really just as an outlet for my own music and to make sure I kept all the rights to my music. I slowly started releasing music from friends and it sort of took off from there. I really started to notice things pick up when we did our first vinyl release (WS017).

How would you describe your style of music when you play?
I generally like playing stuff that has a syncopated bass in some fashion  and 16^th note hihat patterns. This combo really drives the groove and has a lot of energy. I hate to say the cliché of telling story with the tracks, but that is really the job of the DJ. That and playing interesting music that hopefully the audience hasn’t heard before, with maybe the occasional classic. 

Is your taste the same for your productions?
Yea I think so. I go through phases of music tastes. Sometimes I’m in more of a Balearic mood, sometimes more of a techno mood, but generally I’m trying to make something that is original, unique, has a good sound palette, and interesting melodies.

 Do you still buy records?
Of course! Lately I’m buying more albums for home listening, soul, 70s prog, etc. but still buy the odd dance 12” from time to time, usually if I find something cool in my local shop.

 Are you precious about what format you play?
No, who cares as long as you and the crowd are enjoying themselves. I enjoy playing vinyl but it’s a pain in the ass to carry around. If I do a local gig I might bring some records. I do like the dynamics of vinyl, it does sound better that way. It comes down to the mastering process. For digital, the music is squashed and there are no dynamics. Vinyl mastering is different and there is no digital limiting so the dynamics are persevered. This can really come across on a good system. 

Where’s your secret spot to find gems in the world?
The Thing in Brooklyn, NYC will always be the best spot. To this day I don’t understand where they get their records but you can find some true gems there.

Three records that mean something to you.

Manuel Göttsching – E2-E4 

As someone who started out on guitar, was heavily influenced by jazz, and moved to electronic production I feel a strong connection with this record. It’s also the quintessential lesson in repetition with subtle variations in melody over a longer period of time.

Dusty Kid – A Raver’ S Diary – 

Such a great record and a great example of an album written as whole, rather than just putting together some random tracks. When I listen to this I’m transported back to that time period when I first moved to NYC and I started going to see amazing DJs, it’s really nostalgic.

Atlas Sound – Parallax

I got into electronic music to expand my pallet from guitar, but this record really shows how you can do just that with just a guitar and delay pedal. The sound design on this record is outstanding.

What do you think of the music industry right now?
I think when an artform becomes an “industry” of any kind the art will suffer. I try to ignore any sort of music business when possible and focus on making music I like. I’m not really concerned with making a profit from our releases, as long as we break even and put out cool stuff.

Do you think the industry needs to change at all?  In what way?
I’d like to see vinyl produced with recycled wax to reduce our carbon footprint. I’d like to see the big DJs flying around the world reduce their carbon footprint somehow, I’m not sure what the answer is but maybe they could donate to plant some trees for every flight they take or something… It would be easy enough to include that in the riders.

Do you use Spotify? Does it have a place for you?
I do use Spotify. I think SoundCloud has the best algorithm for music discovery, but I do use Spotify a bit, mostly for albums.

Is there someone on Spotify who’s playlist you follow?
Not really to be honest, just Release Rader and Discover Weekly.

Who do you think is hot at the moment? Who should we watch?
Lately I’ve been loving the output of Timothy Clerkin, Rigopolar, Dawn Again, Man2.0, Alex Aguayo,

Do you have a female DJ/ producer that you rate?
Been loving Zozo’s sets lately. She first came on my radar when she played a Wonder Stories track at her Dekmantel set last year (shout out) and a buddy sent me a video. She’s a great digger and selector.

Favourite place/ country/ club in the world to play?
Bali for the vibe, Vancouver for the dancers.

What can you tell us about your new release?
This release was really an exploration in psychedelia for me. I wanted the tracks to have a certain… interstellar vibe with a tinge or quirkiness and grit. For me, that’s what music is all about anyways, exploring new frontiers.

What’s up next for Aimes?
I’m taking a pause from remixes and singles to finish up my second album, I’m hoping to have it done some time in 2021 out on Wonder Stories with a limited edition vinyl release. I’ll be focusing more on song writing with shorter less-dancy versions on the LP, but with extended dance mixes and remixes out later.

I’ve also got an EP out on Tusk Wax due sometime later this year and a track on Insult to Injury’s upcoming compilation.
Aimes releases ‘A Star… In The Sky’ on Wonder Stories. The release is blessed with remixes by Hardway Bros Sean Johnston, Massimiliano Pagliari, Que Sakamoto & NT.  It’s out on 3^rd April

 

 

Cet article Times & Tunes with Aimes est apparu en premier sur Bolting Bits.

Three house heroes you’d like to invite to dinner and why?
Theo Parrish. as he is my all time hero and he is always fun to be around. He is opinionated, he is funny and a bit crazy and he has a lot of wisdom. Osunlade. if I can’t claim him as my spirit animal than at least agree on that he is the good spirit within the scene, transcending cliches and hustle. if they say house is a feeling and a spiritual thing Osunlade is the embodiment of it all. His music has always been outside of the box and he has the Charisma of a real guru.Little Louis Vega. Well nobody has been grinding more. Produced more music. Toured the world more. Influenced people, producers and DJ’s more. I would say it ‘s impossible to keep up with this man’s pace but I am sure some inspiration would rub off.

DJ travel tip?
watch your stuff. dont leave records (or any valuables) in a car. watch your stuff. I am still trying to travel light. USB stick light but most of the times I cant resist bringing records. It’s my dream though just to come out with a backpack every weekend.

3 fav tracks you’re playing right now.

Giovanni Damico – the Sound Of Revolution . I love playing Lumberjacks releases long before they come out and enjoy the reactions and my own anticipation of the release. that’s definitely a bomb.

Jagger Botchway Group – Moko Le Dzen (Ruf Dug tight Disco Dub)

Jad & The – La Allstars

Two records you wish you’d released?

Mark Seven – Lessons in Love
In my mind I was sooooo close to release this but maybe it wasn’t true at all. But I have an original Mark Seven CD-R of this from before it was released on vinyl.

First Choice – I Can Show You (Phonk – D Remix)
I really wanted to this for my BBE compilation but couldn’t get the sample cleared with Salsoul. Luckily for Dirk Salsoul took it and released it themselves.

Worst ever request while playing?
I hate all requests 😊 as it’s basically a way of saying: Yo, I can do a better job than you. But usually that’s not true.

Best club you’ve ever played at?
It’s always about the party and the audience. are the people there to hear what YOU can bring? are they open to hear new stuff? I love midsized venues with dedicated audiences like Phonox, XOYO, Prince Charles, DJOON etc…

Cet article Times & Tunes with Marcel Vogel est apparu en premier sur Bolting Bits.