By his press pic Adam Rivet is not someone you would like to bump into down a dark alley, but by his music he is someone you would like to bump into down a dark techno club.
Adam Rivet is a relatively new comer to the international fray and to date his 3 track Inside Looking Out EPreleased on Frozen Border sub label Naked Index, is all that we have heard from him. If a bruising slab of Detroit tinged techno is any hint at what we should expect, then we have a lot to look forward to from the masked techno avenger.
How and where was the mix recorded?
I recorded it in my studio friday night last week. I used two turntables and an archaic rotary mixer that is falling apart, I refuse to get rid of it. I also borrowed a CDJ to play some unreleased material, thanks Henri!
What was involved in the preparation for the mix?
I just did what I always do before gigs, jam for a few days and then a grab a bunch of wax and do it. They were all some of the last vinyls I bought. I tried to play a few more "song based" tracks since I guess most people will listen to it at home. In a club I usually pick some more stripped back stuff and try to mix a bit quicker.
Tell us a bit about your relationship with electronic music. Where did it all start and how has it lead you to where you are today?
I don't remember exactly when it all happened but as a kid I loved all the typical synth pop. In the mid nineties I had older friends who introduced me to stuff like Adonis, Marshall Jefferson, Joey Beltram and Paul Johnson which really clicked for me. I didn't really go clubbing though as I was too young. Once I was old enough I felt a bit misplaced in the club scene so I stayed home with my decks and rocked it out for my parents and neighbours (laughs). In the later part of the nineties I was really into Photek and Optical but when Drum n Bass got more wobbly and super produced I quickly lost interest. Most of the 2000's I was into old stuff, going back in time and crate digging for some gems of the past, I was basically living on Discogs Marketplace. It wasn't until two or three years ago that I became in sync with the scene again as I started finding some of the "dubstep" interesting by guys like Martyn, Scuba and Pariah to name a few. It sparked an interest to follow current music again. Lately I've been really into what Basic Soul Unit, Levon Vincent and Kassem Mosse have put out, their records are actually what inspired me to send out some of my own music.
You have just released Inside Looking Out on Frozen Border sub-label Naked Index. Tell us about that.
Well I guess the title is explained in the question above. I have been making music for a very long time but I am a bit shy when it comes to showing people. When I finally gathered enough courage to send out a three track demo, Jeff of Frozen Border immediately signed the whole bunch. I was shocked, but very happy. Just 4 weeks after the initial contact the vinyl promo was out and it got some overwhelming feedback from some musical heroes of mine, it feels unreal really. Funnily most of the stores stocking it tagged it as Andy Rivet, I guess because of my shitty handwriting (laughs).
What's next for Adam Rivet?
Another EP for Naked Index, a remix for Skudge Records and two more EPs on labels that I'm not allowed to announce just yet.
Today I was sadly awoken to the news that singer, writer, poet and now legend Gil Scott Heron had passed away in New York overnight, just over a year since his I'm New Here release, influential to a whole new generation of listeners.
Scott Heron, a man who only three years before had been doing time in prison for possession of crack cocaine had been known for a problematic lifestyle but it was the music for which he was loved. Scott Heron's poignantly aged voice ofI'm New Here is of stark contrast to the spritely croons of his 1976 soul collaboration with Brian Jackson, It's Your World(a record I'm proud to say I own).
35 years after that collaboration it's evident to see that years of excess, misfortune and abuse has the ability to jade talented soul-jazz artists into a grizzled blues performers. A 1976 Gil Scott sings of New York, I don't know why I love you, maybe it's because you are mine to a 2010 Gil Scott on New York Is Killing Me,eight million people, and I didn't have a single friend.
Gil Scott Heron impacted me and my music so its' with great sadness to see him go. RIP Gilbert Scott Heron 1949 - 2011.
Philosopher, literary critic and media theorist Marshal McLuhan's the medium is the message isa statementinciting that a form of a medium embeds it self within a message, in turn creating a symbiotic relationship by which the medium influences how the message is perceived.
This couldn't be more prevalent in todays music where talk of vinyl vs digital is only seconds away from a heated debate. For Octopus Recordings boss Sian aka Graham Goodwin tradition is something he can't wait to escape, today record labels are easily established and run on the road at next to nothing thanks to the wonders of wireless internet. Pursuing purely digital distribution as an unknown act or label, in an already over saturated market in most cases will see those languish in the digital doldrums, as many current digital acts and net labels are. So it's with knowledge, grace and forward thinking that Sian has established himself as an sought after artist with an highly regarded label via this very digital medium, once again taking us back to McLuhan's inquisition of the medium being the message.
TEA caught up with Goodwin to talk life between Dublin and Barcelona, balearic hippies, an assortment of "ology's", peak time dance floors and a classic blend of your favourite cuppa.
So you were born in Dublin but then moved to Spain. What brought about the move?
I moved to Spain at age four and traveled around quite a bit with my parents. My folks were up for a change and my father left banking to start up a up a bar with my mum, I think both looked to escaped Ireland's economic squeeze at the time. When I think about it was quite a bold move as they had to bring up and take care of me and my 2 brothers, the 3 children from hell. Being a DJ with a wild imagination and love of limbo travel definitely comes in handy, a sense of adventure and appetite for the travel is the best thing our parents gave us, that will always been in me and my brothers.
How influential has Spain been on you and your music?
Hugely, Spain is always with me. Apart from the modern lazy Spanish outlook, Spain has always been a very inspiring, creative, bohemian and elegant place, a sort of runaway sanctuary for some. It has a sense of outsiders lurking and people looking for something better and brighter. This has created a strange population of roving balearic hippies and per flautas (crusts) which keep the party scene vibrant. A large portion of the youth are unemployed which makes for some good party action too. In terms of music I think Flamenco has much in common with the banging rhythms of techno, it has been influential on my productions for sure and you can hear it in the melodic techno I make.
And Dublin? Do you consider it home?
Well I tend to move each year and for now Dublin is home, it’s always a nice place to come back to as well. I consider myself Irish, made in Dublin and very proud of that. It’s so small and village-like, I can walk out my door and see people I am somehow connected with immediately. I lost that living in Barcelona or Berlin where it can seem as though many cities are combined. Dublin is bang central and although lacking in some aspects such as an electronic music scene, the parties that happen here are legendary. I find it strange that electronic music in Dublin doesn't have more exponents actually, given our rock ,traditional and pop music history we should really have more producers and labels. In terms of character it has definitely given me some stubbornness which is important too!
Tell us about your interests in Entomology, Cosmology and Marine Biology. For the uninformed could you explain what they are and where your interest lie.
I've always been a Zoology enthusiast, any spare time I get I’m always reading up on Entomology, the study of insects, Cosmology, our universe and Marine Biology, sea life. I’m in the water any chance I get and when on tour I try to find any nature and snorkeling trips I can make during down time.These things are at most a hobby and I’m always looking to learn more. Reading can be difficult when you have been staring at computer screen for 10 hours so a big part of writing music is getting away from it and standing back, I have been realising this more and more of late.
How did your first begin production, to working your way into clubs, to starting a label?
By obsessively collecting records (laughs). This lead me sampling and messing around with drum machines. I then edged my way into the support slot zone. I was playing at the Kitchen initially as a kid, a superb electronica and techno club that U2 part owned. Then things happened quite fast after my 1st Pokerflat release which lead to DJing around Europe. I then teamed up with Gabriel Anandas label Karmarouge and their booker, which again led me further afield. I recently signed up to the Mainstage agency in London which in my opinion is the number one agency. They represent a lot of guys like Sasha, Adam Beyer and M.a.n.d.y so that's a huge step for me.
Octopus Recordings. Tell us about the name and how you decided on it?
Since I’m into marine biology it seemed like a perfect name. An Octopus is a multi tasking, intelligent and unusual creature. As a word I’ve always thought it was peculiarly formed and it fitted so nicely as a font. The aim of the label is to be resilient, versatile and somewhat mysterious, so it suits.
How are things going with the label? Your Beyond Silence release looks to be injecting a new approach into electronic music, is this something you were looking to do?
Yes, we are looking at some news ways to approach production, chopping things into tools and re-editing live. This is a huge part of what we are, non conformist and looking at ways to mess with formats. Beyond Silence was constructed from all the separate parts of my new tracks, so for me it feels unique and fresh for the industry. We also started giving out tools with the releases so people can mix the parts up. Coming next we have some superb remixes from Losoul, Funk D'void, Secret Cinema and some other heroes of ours.
You said in a recent interview “I have zero respect for tradition actually” regarding therelevance of the vinyl single, album, record stores and distribution models of the past. What are you and Octopus Recordings doing in leading the way for this new model?
We are really pushing digital formats, being light on overheads and keeping it mostly in-house, providing a medium for new renegade labels. We can master, produce, direct art and distribute directly to Beatport ourselves. Beforehand the stale old model of a hierarchal system of distributors standing in the way and making decisions for labels is over. Now a small and cutting edge labels can compete on an even playing field, in a lot of cases reaching and interacting with fans directly, this is a welcoming change the old boys are scared of.
You also mention how you are of the opinion that ‘electronic tracks, especially "dancefloor" material, don't really work in a traditional album format, since they are ultimately destined for a club’. Many electronic music producers are experimenting with ‘non-dance floor tracks”. Is this something you are interested in or is Sian only music for the dancefloor?
Well I find it hard to define ‘dancefloor’ but I aim peak time. I’m also into lots of dub and electronica which I think can find a place in the clubs too. Mainly I’m interested in club music for those big moments. Creating something as a chunk of sound and not necessarily focusing on the genre, but more the technique and playing style. I do believe our scene is largely about singles and club tracks and so is Octopus. The format we do this in should reflect that such and we have done so with Beyond Silence as it flows continuously and is made in a similar fashion to the way I DJ.
Tell us about the process of arranging all 1,013 individual tracks for Beyond Silence. Where did you start and how long was the process?
It was a nightmare to be honest. The session in Ableton was gigantic and very hard keep order. I had to make sure I didn’t move things once set and made sure I planned ahead so that each tracks part synced into the next, it took me over a year of editing. If a single hit or another part slipped off the grid I was back to several hours finding that problem. Looking back I do feel it was worth it and the hard work shows, I mean that’s what it’s about right? Letting the sweat and time show. It would have been too easy to just line up the 10 tracks in an album format.
How have your ideals and production methods changed since your last album Rhino Flowers 9 years ago?
I still make the same stripped down, loopy techno but yes the tools I use, like maschine and VST’s have replaced the Akai MPC. I still use the same techniques but now I’m more focused on the dance floor. I’m actually working almost exactly the same way but with newer tools. Native Instruments has really helped me out and I’m finding ways to use all my old analogue samples in a modern framework. Rhino Flowers was a lot dubbier and slower, my new work I guess you could say is much more club oriented.
Tell us how you went about choosing your remixers for Beyond Silence. Not a bad list, must have been fun.
They are people whose music I really love to play, on or off peak time. I think this reflects well on our musical spectrum at Octopus. All the artists at the top of our list said yes, so this was very encouraging and surprising. Each artists delivered their sound so well and it was crazy to hear what everyone did with their parts. I think the fact the idea of Beyond Silence was quite radical which seemed to pique peoples interest. The remixes range from big room guys like Ramon Tapia and Carlo Lio to super high end technical guys like Terence Fixmer and Donor & Truss. They all somehow made something that sounds like the label too, which im honored to say is a big compliment.
Has Octopus Recordings given you the chance pick and choose artists you’ve always admired to remix your work?
Exactly, they are people I like personally and artistically. When I got the go ahead that they were up for remixing me it had to be on my label (laughs). It kind of snowballed into a big remix collection. It would have been in some ways easier to release this big collection with big names on a bigger label but I was very proud that these guys were up for having it released through Octopus. The remix process has ended up being a very personal experience for us at the label.
With such a large remix roster for Beyond Silence, was finding what you considered fresh or new talent important? Clement Meyer perhaps?
That was definitely a big factor. I have people on there like Clement Meyer and Basic Soul Unit. These guys are red hot talent that I’m proud to grab on their way up. In two years these guys will be massive.
Tell us about the Octopus Trainwreck residency at Dublin’s The Pod. You had the launch with Anja Schneider on April 8th, how was it and how often will you be playing there?
The opening night was packed and crowd were well up for it. Anja plays kinda tough when she's in Dublin, so her belnd of old school Chicago house and techno was super nice. The venue is awesome which is made up of The Pod, Tripod and Crawdaddy, 3 very well laid out venues with the best sound system in Ireland. It will be once a month, next up is Kaiserdisco.
You play with Anja quite a bit. How closely do the two of you work together?
We are friends indeed and it seems we end up playing quite a few of the same spots. She's a real sweetheart and one of my favourite DJ’s, so we try to book her often as possible. I’m huge fan of her label Mobilee too, It has a great vibe and look with some great people involved, they are a very tight knit crew and hugely in house, from design down to the label parties. Mobilee was a big influence on how I run Octopus.
What is next for Sian?
Releasing singles from Carlo Lio, Ramon Tapia, Secret Cinema, Joel Mull, Dustin Zahn and Sasha Carassi will take us up to September which includes the album on June 30. I’m going be touring Europe, USA, Australia and South America as well as trying to stay on top of the huge label workload. I’m looking forward to working my way though some new production gear and of course listening to tones of new demos and promos. In terms of Octopus we have new music from Calculus and The Exquisite Corpse, MCBZ and myself, with remixes by everyone from Funk Dvoid to Losoul.
It's been a long time coming but the world is finally privy to the superlative talents of The Carter Brothers, whose name now basks in the glow of Rush Hour's beaming lights. Tim and Gavin Carter (not surprisingly siblings) currently reside in the sleepy streets of Adelaide, South Australia with the two originally hailing from the atypical house and techno savvy Mildura, a regional Australian town located in the far north-western corner of Victoria.
Full Disco Jacket is not by any means a straight off the bat release for the duo as the brothers have two previous full lengths to their name, done of course in the typical Carter Brother DIY fashion. Full Disco Jacket's main mix skirts loosely around the edges of loopy filter house that could easily be expected from the likes of Tiger and Woods although The Carter Brothers move quickly to dispel any doubts that they are filter of the month samplers thanks to their audibly precise production prowess. The two may well see themselves with a mainstream club hit on their hands and have done so by proving once again that good ideas and original productions never age, this is clearly apparent through the main mix's shimmering horns, plaintive synths and one of house music's toughest kick drums.
The Full Disco Jacket Dub is exactly that. A deeper disposition gives the funk guitar plucks and cheering leads a chance to spread its wings amongst the now subbier beats and filtered horns, guaranteeing effectiveness. Nebraska's remix mines a similar path to that of The Carter Brothers in which the UK producer strips it back to Full Disco minus the Jacket. Bold filter sweeps dance upon a side-chained groove with Nebraska's cosy conga's slotting in alongside some Daniel Wang-esque "boo's" nicely.
Both Carter Brother tracks bring an alluring fusion of tumbling beats and groovy, low slung basslines which hint at dance music's funk and disco heritage, twelve inch, full disco jacket.
Listen to TEA's resident DJ's Rush Hour release here
TEA rolled into Cuckoo Bar for its first Adelaide party of 2011 with usual suspects The Carter Brothers and James Manning in tow. Melbourne's deep house don Mic Newman was on the blower dialling in some delictable house cuts to an already spritely dance floor, ready to add another coat of red to Cuckoo Bar's deeply rubicund walls. Mic Newman and the Adelaide faithful didn't disappoint as Cuckoo was filled with a sense of unity, hedonism and abandonment that will no doubt be talked about for weeks to come.
Pics - Stephen McManis
The first hour of the night belonged to Cuckoo Music controller Phil Rogers aka Phildo with some urbane house selections to set the tone. TEA residents Tim and Gavin Carter aka the loveable Carter Brothers brought their full disco jacket to Cuckoo's main room with an array of secret weapons. Rush Hour's debuting duo kept things pure as the driven snow, wooing heads from the bar and onto the dance floor. Tim Carter edged towards some deeper sounds with the occasional stepped style while Carter #2 Gavin indulged in some Detroit sentiment adding drive and momentum with plenty of that trademark Carter Brother sound fuelling many of Cuckoo's parties.
Pics - Stephen McManis
Mic Newman, 726 Kilometers from his (03) dialling code of Victoria, rung up some previously unheard Micky Nu jams which pulsated through Cuckoo's (08) Funktion 1's. By this stage the party was in full swing sizzling to Sally and prepared to die young all in the name of a good fun. A creative and prolific producer, Newman played two hours of deep and at the same time uplifting house but it was in the how he did so that made the night so special.
Pic - Stephen McManis
As the drinks flowed and good times rolled Cuckoo found itself kicking on with an atmosphere far from dwindling. James Manning finished the party with some cheeky techno cuts mixed in and out of some house and disco jams before waving Gavin Carter over for a final encore mix. Mic Newman's Adelaide soirée saw a scene of sweaty and jovial peeps enjoying the light side of the evenings dark, leaving an anticipation for TEA's next Adelaide party.
Pics - Stephen McManis
Special thanks goes to Stephen McManis for snapping up the night. TEA's next party will be with 3rd Strike's The Tortoise held at Melbourne's Loop Bar July 22nd .
