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  • Mini interview with Roughquest.

    shatterfreak 1:06 pm on June 24, 2010 | 0 Permalink | Reply
    Tags: , , play, roughquest, rudimentary

    With the rather stunning “Play” EP out on Rudimentary Records I grabbed Roughquest to answer a few questions for us and deliver some insight into the man behind what is to me, one of the most interesting releases I have heard in some time.

    SF : For those not in the know, give us a brief run through of your history with music, and your production history in particular.

    RQ : I’ve always been into computers, ever since my big brother got hold of an Amiga 500, I was hooked. I used to program games and all sorts on that thing… Until I found a random floppy disk called Octamed in the box. And that was it basically… I was totally addicted to that program. Looking back on it, it was just a fantastically powerful program… all at half a meg of RAM and at 320×200 screen resolution. Love it. But yeah, it was this that really got me into producing music. I still have an old James Bond remix I did, that I recorded off an old cassette tape. Did that when I was about eleven years old I think. It wasn’t half bad!

    My other big bro was well into the free party scene at the time, so he had shit loads of rave tapes laying around and flyers all over his wall. I used to love the flyers and the tapes he had… I’m pretty sure all the old ‘92 tapes exist right now, really old Clarke and Kenny Ken stuff. Electronic music has always held a special spot in my heart, starting from raw dance music but maturing into more experimental organic sounding stuff. Future Sound Of London’s Lifeforms album is the absolute height of electronic music to me.

    All of my geekery, through out the years, meant that I never really took up playing a real instrument. My parents kindly brought me a keyboard (old Yamaha something or other) that had loads of sounds and basic synth programming on it… I still practice my keys, but I’m a shit musician. I appreciate I’ll never be a good instrumentalist, I’ll leave that to the pros. I’m just the geek in the corner, twiddling with my knob(s).

    SF : Your release “Play” on Rudimentary Records is at times stark, and at other times beautiful, and is sometimes both in the same moment. Are you attracted to duality in music in general or did it all come about subconsciously in the writing process.

    RQ: Definitely so! I love putting things together in sound that shouldn’t really go together. I’m glad you said that, as it must surely show on the other side. That’s cool man… But yeah, as I’ve been doing more and more production, I’ve noticed that it’s less about what I have in my head before hand… It’s more about a sound or a texture which snowballs into all these different directions, then it’s me sort of knitting these all back together to make a cohesive whole. I’ve never been one to make ’straight ambient’, ’straight dubstep’ or ’straight trip hop’ etc. But I love all these genres and what they do to me as a listener… I suppose it’s sort of my quest to take these little elements, from all the genres I love, and squeeze them into something that’s (hopefully) enjoyable to listen to. At the end of the day, that’s all I really want.

    SF : I personally consider your release to be a very special type of music, something to get lost in while traveling as a very welcome distraction from what’s around me. There is sense of isolation and strength in it, where as often times music in this vein can come across as desolate or fragile…it’s basically a very confident EP to my ear. Would you consider this a fair summary or am i talking out of my ass? :)

    That’s great it is having that effect on you. As a producer of that music, I couldn’t ask for a better reaction to it. It’s funny you say it’s a confident sounding EP though… I felt anything but confident with the tunes, the mixdowns, the mastering etc. Maybe it’s because it’s the first time my tunes have been taken seriously. I literally poured my blood and sweat in to it, for about 2 months solid, to bring them from work in progresses to the finished thing. Literally thought of nothing else… I was so unsure of every aspect. But now I can relax more on it and sort of feel proud of my efforts. I’m glad it still came through confident, as the ideas were bold and brash to start with, glad they survived the mental turmoil!

    SF : What’s next for Roughquest?

    I promised myself to get another EP out this year, if that happens or not is another story. The first EP was a push to define my sound somewhat. Though, in all honesty, I have no idea what that sound is yet – but I think that keeps things a little more interesting (for me anyhow). I recently invested in a decent controller for my laptop, so I’ve been furiously working on doing little mixtapes too. I’m not a conventional DJ, never will be, but I do love to mix music I love. I’ve already done a few for a few blogs and sites and definitely want to do more. I’m hoping to keep these fresh and interesting and not just the normal hour-long two-track DJ mixing thing… So please do listen out for these ones. I’m starting to think seriously about doing some live stuff too, but this may take a while to form yet. It’d be great to find someone to do it with or at least to help ease me into it a bit, I lack confidence sometimes… but one step at a time I think!

    SF : Who is currently getting some play when you are not working on your own productions?

    SoundCloud is such a great source of new music… It’s a fantastic site and I love how viral it is. There is some people out there doing some amazing music, better than anything I hear knocking around usually… Altair is one guy. He does the most soulful, clean, crisp productions. He recently did a collab with Es.tereo (another guy to check out). A lot of Vandera’s work is great. Anything by my mate Stuart K (Mr Lager in the dubstep circles) and ASC… anything that guy touches at the moment just turns to gold. Also checking out a lot of Muted’s stuff too. A good friend of mine Fonik is quickly getting his free music label up called Manifesto Music, which will feature a release from Muted. I have a finger in that pie too, it should be an exciting project and release! Aside from that, Rhythm & Sound gets a lot of love from me, a lot of old Future Sound Of London, Thom Yorke (and Radiohead) and I’ve recently been getting quite into hip hop (as you may tell from some of my mixtapes that’ll be coming out…) I always try and keep an open mind with this stuff. I’m less about the names and the genres really… If it’s good music, it’s good music!

    If you want to keep an eye on Roughquest you can get him on Facebook, Twitter and Soundcloud.

    I would also strongly recommend checking out his Bare Ingredients Mixtape which can be found here.

     
  • Stripewaves Global 6 - Yoru

    shatterfreak 10:23 pm on May 30, 2010 | 0 Permalink | Reply
    Tags: downloads, global, , rudimentary recordings, yoru

    Possibly one of the best things about the Stripwaves Global mixes is the fact that we have so far managed to pull in some real ballers, guys who have been doing their thing for a while and have evolved impressive skill sets in the area’s of tune selecting and the fine art of mixing. This one is no different.

    Yoru (sometimes going as Beckett for DJing/productions and as Rory for the real world ) is one half of the minds behind the ever growing and ever impressive Rudimentary label (the other half being Andy(SomeoneElse). Starting off with a simple club night where they lads could ensure music they enjoyed by controlling who and what was played they had the aim of providing good old fashioned cross genre fun with the simple ideal that music is good or bad and should be enjoyed accordingly. “We started it off as a night where we wanted to play stuff we enjoyed, from all musical spectrums, and over the years we’ve had various hair brained schemes to further this aim, and along the way somehow ended up booking some amazing guests for some deadly nights, which are more or less random occasional events”, says Yoru.

    “On top of that we decided a label was a good idea, as there are a tonne of producers from both here, and elsewhere we reckon deserve to get heard by a wider audience, so we’re working slowly on that one, we wanted to get the ball rolling so we started off digital, but we hope to produce some physical media sooner rather than later…”

    The lads also have a weekly radio show on Feile FM in Belfast, (which i can assure you is well worth your time to listen to – Shatterfreak) and future plans revolve around expansion of the label and possibly even a magazine as well. That’s right, on paper, something so novel these days it pretty much has to happen.

    Coming out soon on Rudimentary will be Roughquest’s “Play” EP, which is a delightfully dark and dubby spin through eclectic soundscape elements meshed together in perfect harmony with heaving lows and assured and flowing broken beats. It really is a fantastic EP. Take a listen at the below.

    http://soundcloud.com/rudimentaryrecords/sets/roughquest-play-ep

    If you like their vibe, check out Rudimentary at http://www.twitter.com/Rudimentary records and http://www.soundcloud.com/RudimentaryRecords. These folks are music hungry as well, so feel free to contact them about anything at all at info@rudimentaryrecords.com

     
  • Random awesome #whateva!

    shatterfreak 11:22 pm on April 30, 2010 | 1 Permalink | Reply
    Tags: , DFRNT, , , introspectionist, Marina Faib, policy, , T-woc

    I keep meaning to come up with some form of title for these posts, but i never do. I always have something in mind, but it’s never static. I guess the good thing is that nobody seems to care, at Stripewaves we seem to just be doing what we want, talking to who we feel like and people seem to be digging it. The feedback lately has been good, and it’s time to thank the people who sit there reading this blog.

    The whole vehicle is aimed firmly in the direction of giving more exposure to great artists. It’s not about having a “good blog”, i think we could sit here and churn out links to video’s from well know artists and all day and get a pretty sweet readership but that’s not really what we are about. No offence to any of the bigger names, but you have plenty of coverage, lets give the little guys a chance.

    It brings us on nicely to the main topic of this ramble. Soundcloud. It’s always been our main source of posting content for a good reason. It’s filled with talented people and offers a pretty sterling service, so more and more people are using it. The last few months have seen some pretty big names with Soundcloud accounts and the numbers are growing. Blogs all over the net are linking up to it to bring attention to the folks who dwell within and if i had to put money on such a thing i would bet the house on Soundcloud currently enjoying a daily sign up rate that would make any net entity happy.

    As such, Soundcloud is turning into quite the promotional tool, you have the audience attracted by the big names being exposed to the smaller ones…you’d really be a fool to not have a Soundcloud by now. It’s the most obvious direction the future of online music promotion is going to take if the cards fall right.

    It’s also a bit of a shark tank. The talent level is pretty damn high if you know who to look for, a kind of friendly competitive nature seems to exist around the idea of pushing things, refining things, doing something new and just generally improving your own skill set. As such, I have a new list of awesome for you to get in your ears. It’s a mix of the small and the on the way, the bedroom producers and the guys who seem to be on the cusp of some pretty big things. There’s also one or two names in there who are doing very well, but the joy of Soundcloud is you just can’t ignore a good track. :)

    Long live Soundcloud.

    DFRNT – “Dangerous”
    DFRNT – Dangerous by DFRNT

    policy – “A Platform in Queens”
    A Platform in Queens by policy

    Soft Wasp – “Angel on the Beach”
    ANGEL ON THE BEACH by Soft Wasp

    Adam Kroll – “Just a taste of me”(cheers Inofaith!)
    “Just a taste of me” by Adam Kroll

    T-woc – “Dub Father”
    T woc – Dub Father (AC7R02) by allcitydublin

    Marina Faib – Sabre “One Hundred Teeth” Remix
    Sabre – one hundred teeth (Marina Faib remix) by Faib

    Subreachers – “Elysian Fields”
    Elysian Fields by SubReachers

    Introspectionist – “Sincere”
    Sincere by Introspectionist

     
  • Stripewaves Instant Interview#1: Inofaith

    shatterfreak 12:33 pm on April 27, 2010 | 3 Permalink | Reply
    Tags: , , beer, , , , holland, , , , , The Illuminated, TMSV

    In a new thing for Stripewaves, i’ll be tracking down some of the most interesting underground electronic music producers around the world and getting them into some brand of chat client for a talk about their music, how they do things and how they view music in general. First up is Inofaith from Holland. His interesting brand of electronica wanders from Dubstep to DnB via IDM and Hip Hop and he has been known to experiment with some glitchy goodness as well.

    SF: Hey Inofaith, thanks for taking the time to talk to us.

    Inofaith: You got my full attention.

    SF: So, for people who may not be too aware of you or your history, do you mind giving a brief run through of your production history?

    Inofaith: I come from playing the piano, was inspired by hiphop and started making things on a computer at 14, techno and hiphop beats, later drum and bass and triphop. In the process I got in touch with scratching and beatboxing as well.
    The last years I’ve been learning a lot productionwise, and my sampling has grown more into field and foley recording and sound design.

    SF: You do seem to be a very “hands on” producer, i have seen a video of you using a Korg KP3 as well as anyone i have ever seen. Do you think this is a remnant of starting out with the piano and the later progression to the decks?

    Inofaith: Well yeah the piano and scratching are certainly ways of expressing yourself using your hands. But I also feel that having used a computer to produce music has aided into thinking about sound and patterns in a visual way. When scratching, or shuffling beats on the kaoss pad you sort of see the patterns before you do them.

    SF: Do you have a general framework for production involving the various means you have to produce sounds, from sound design to field recording etc, or is it simply a matter of starting with whatever element grabs you at the time?

    Inofaith: I used to just impulsively start working after I got a new sound from somewhere, but most of the time you start hitting a wall and discover you don’t have all the elements you need at hand. It’s like starting to cook a meal while you havent prepared any ingredients. This doesn’t have to be a major problem sometimes. But if you are in this inspired zone where you want to just create, you don’t want anything getting in your way of putting down your mood or ideas, so I’m getting more structured in the sense of organising ingredients and having commonly used elements set to my preferences.

    SF: Do you even set out at the start of a track to write a track of a specific genre, or is that just something that occurs naturally in the early stages?….or not, as the case may be, a lot of your work could easily be labeled as several different genres, with all the cross appeal that usually implies.

    Inofaith: In my early dnb and triphop work I did have my bpm counter fixed most of the time. But nowadays I usually hum a melody or beatbox a pattern and write that down or save it in a memo recorder if I’m not near the computer. Based on that, I start out by tapping the tempo in and go from there. I feel that staying true to that initial idea that gets you grooving is often the best way.

    SF : You really seem to believe strongly in that first moment of inspiration and we have talked before about the importance of different avenues of inspiration for artists, what can set you off and get you thinking about a beat, or humming a melody?

    Inofaith: Well, the funny thing is that these ideas mostly arise when I’m in a place nowhere near any means of recording, like in the shower, toilet or when riding my bike. I often find myself rushing trying to get back to my computer to save my idea haha.

    For me being in a calm place or moment can work. I think its just having no impulses from outside that allows you to really listen to your own ideas or mood. But I can easily get inspired by having watched a movie or reading an interesting article, also traveling to new places gets the mind going. As far as melody or beat goes, that really depends on the mood I’m in,obviously an energetic mood will yield faster beats etc.

    SF: I know you are a big fan of sountracks, and have used quotes from films such as Event Horizon and Lost in Translation in some of your tracks, this all adds to your music having a very strong visual drive behind it, it’s easy to close the eyes and just see images when listening to your work…do you think this is a happy result of your own efforts married with your inspirations or is it something you strive to acheive?

    Inofaith: I think its something I do both unconsciously and intentionally. When I create music I want the track to take me somewhere. Most structural things are done on just feeling and anticipation. But I’m also busy with trying to find combinations of sound and image. I tried VJ-ing and video sampling, I even worked with video artist Eboman for a while. But I discovered that literally showing a sound and where it came from takes away the mystery and perhaps “abstractness” of what music can evoke in people. So I got back to shaping sounds so they fit a certain mood or image much like film scores guide the things that happen on screen. It’s often debated that the soundtrack of movies actually make up more than 50% of the whole thing. I find this very interesting.

    SF: You made a video for Fix Yourself, which was you on a very nice looking couch with your KP3, any more plans to have video’s for more of your tracks in the future?

    Inofaith: Yes, I’m always thinking about that. But as a one man project it’s very time consuming to write good music plus creating worthy visual content as well. That’s why I’m focussing on music first. A nice video clip with a bad song isn’t going to work. A good song can stand on it’s own (and that’s where the more-more-than-50% phenomenon comes in). On the technical side I have some equipment I want to upgrade before I feel confident to set off on this visual journey.

    SF: I’m looking forward to the day it happens I have to say. There seems to be a lot of very talented people over in Holland and the scene seems to be very strong over there. What’s it like from an inside perspective and who do you think is worth watching out for?

    Inofaith: Yes, I’m quite proud to be from Holland I must say. There seems to be a tendency towards innovation. Maybe that has to do with the Dutch being very open minded but critical as well. Holland is relatively small in terms of population, we have a tight scene around here and most people know each other.

    People I think you should really look out for would be TMSV: who makes deep mala-esque tracks with great percussion, Myrkur: who’s a genius in ambient and melodic things, HALP: very promising synth-crazy works. Beer has got new live things in store and The Illuminated boys are starting to shake up things in the south of Holland. In terms of events Subway is doing big events. And allthough he’s from Germany, I really love Adam Kroll’s work. At the moment I’m also doing crazy mashup DJ sets b2b with Erwtenpeller which is a lot of fun.

    SF: Finally, as well as the music and the video experimentation, you are also an avid photographer. Do you consider them all to be different paths, or is it all just different arms of the same creative monster?

    Inofaith: They are different formats, and both sides have their benefits and limitations. But for me they have a lot, and I mean a lot of overlapping aspects. Both technically and conceptually. Working on photos/video and music back and forth has got me theorizing about audiovisual relations. There is still a lot of things to discover in this field and I feel the tools for working with them are still at a very immature stage. Taking photos is also I just enjoy, be it going to a party with friends or taking a walk somewhere. Just like listening goes for recording or sampling: It lets you focus on the details of everyday things, which makes you see differently.

    SF: So is it reasonable to assume that one of your long term goals is to put something into the public domain that combines audio and visual aspects and does both mediums justice…that is definitely something worth looking forward to.

    Inofaith: Yes, like you said, it’s a long term goal. I’m learning things all the time as I go along. And I don’t want to rush anything. There is lots of possibilities as to what form concepts like these can be shaped in.

    SF: Well here at Stripewaves we will most certainly be keeping an eye on your creative content in all media, thanks very much for taking the time to talk to us.

    Inofaith: :) thank you, my pleasure.

    Don’t forget to check out Inofaith’s own Soundcloud page, and if you are really digging his work as i am be sure to become a fan on Facebook.

    Dawn is Late
    Dawn is LatebyInofaith

    Girls go to Bed Early
    Girls go to Bed EarlybyInofaith

    Fix Yourself
    Fix Yourself (*live: see music video)byInofaith

    Reticent
    ReticentbyInofaith

     
  • CalicoLeaf

    shatterfreak 2:42 pm on March 22, 2010 | 1 Permalink | Reply
    Tags: calico, calicoleaf, , electronica, leaf

    I find myself more and more, somewhat inevitably and altogether unequivocally, in two minds about music. Everything comes in twos now, every “if” holds hands with an “and”. It’s most compelling manifestation is in this growing attraction i have for music i could never see myself making but (those are cropping up a lot lately as well) only in cases where the differentiating factor is quite clearly something that cannot be learned. The difference needs to come from the very essence of the person who made the track, a difference in personality, perception and experience.
    It’s possibly my view that production is an extension of personality, as producers we kind of give the game away with our music, offering little tit-bits and hints, and in time our bodies of work become layered, hidden amongst the one shots and melodies is an odd detritus of human emotion that can become altogether telling, at times.
    Just from listening to his tracks, i know that myself and CalicoLeaf are very different people. It speaks a lot of his ability to make honest, interesting and altogether personal music. And then he lets us listen to it, which is pretty cool of him. He’s dreamed different dreams and felt different things and while all this sounds like it should be obvious, sometimes it’s not. Sometimes music isn’t a personal and freeing journey, sometimes it seems to be fraught with worry and an almost needy desire to be liked that if it were a person it would wear a sideways baseball cap and almost certainly have a nickname. CalicoLeaf on the other hand wouldn’t care…you can tell. His music is made because it’s the music he wants to make, plain and simple and you really have to respect that.

    Joe Hisaishi – Path of Wind (Calicoleaf RMX)

    CalicoLeaf – Spheres of Kannos

     
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