Friday, August 04, 2017

The Other People Place article, Music For The Other People Place and more


This is an excellent and extensive piece by Daniel Montesinos-Donaghy about The Other People Place's Lifestyles of the Laptop Cafe. Some interesting interviewees (including me) and the story behind the $25,000 copy on Discogs, its iconic artwork and more. The article has been up since February but I only saw it.

A new live show has been announced for Dopplereffekt in Hamburg, Germany on 18th August.

There is a very exciting new project and concept, Music For The Other People Place, from Fundamental Records. Inspired by the spirit of James Stinson, you can read all about it at this link and sample some of the forthcoming music. Fundamental always do amazing projects so I'm sure this one will be very special too.

'This project is also a tribute to the legendary James Stinson, an artist who was blessed with the gift of creating with a mind that was completely free from prejudices. He took his music beyond the imaginable. Beyond any name, label or genre. This is why we chose this name for the project. However, as fans who have nothing but admiration and respect for the legacy of James Stinson, do not expect this project to be a collection of Drexciya style works. This tribute has to be understood simply as an homage to someone who fought for creative freedom in each of his works.'

You can listen to the new NRSB-11 track, 'Nationalised', from Kern Vol. 4 on Tresor, which was selected and mixed by DJ Stingray 313. Previously this has been a collaborative project involving DJ Stingray, Heinrich Mueller, Penelope Martin and others (not sure of current lineup but guess Stingray and Mueller are still involved). Their debut album, Commodified (2013) on WeMe is well worth hearing too.

This radio show is the first of the James Stinson 15th anniversary events to be confirmed. I'm aware of 3 others in the works and will share them once they are finalised. If anyone is interested in doing a small tribute/celebration of James Stinson/Drexciya in a bar, club or online on or around the 3rd of September I will be happy to share.


Saturday, July 15, 2017

Jack Peoples, James Stinson 15th anniversary and more


I'm guessing many of you by now will have received the Jack People's EP, Laptop Cafe, on Clone Aqualung. I'm loving hearing these new sounds from James Stinson 15 years after he died. Sleeve and label info is ultra minimal, track titles are just 'Song 01' etc but it's nice to know the cover artwork was done by one of his daughters. According to Discogs there is also a clear blue vinyl edition.

As this year is such a significant anniversary I'm floating the idea that perhaps fans around the world might want to celebrate his life with a night of his music or whatever you think would be appropriate. It doesn't have to be big, just something in a bar or club on or close to 3rd September. If anyone wants to organise such an event please let me know and I will be happy to share it here and on the DRL FB page.

There is a new collaborative track, '00045.00.2.6', between The Exaltics and Rudolf Klorzeiger aka Gerald Donald on a new album by them called Das Heise Experiment 2 - The Prequel. You can listen to samples at Soundcloud and pre-order it at Bandcamp.

There is 17 minutes of Arpanet live at the Terraforma festival, Italy from 24th June 2017. It seems to be from the sound desk so it's pretty good quality. It's mostly unreleased material so grab this one from NTS while it's still available.

A new Dopplereffekt live show has just been announced. They are on the bill for the opening event of the Present Perfect festival in St. Petersburg, Russia on 28th July. Actress and Clock DVA are also in the line-up, pretty cool show.

This is a live video of a new track by Dopplereffekt from a festival they played in Beijing, China about 6 weeks ago. The track reminds me of Black Replica and appears to have a female vocal sample, it's really nice. I also found this video overview of Sonar 2017, you can catch 30 seconds worth of Dopplereffekt live at the 6min 18sec mark. Looks good and sounds like a new female led vocal track.

DJ Stingray has mixed Kern Vol. 4 on Tresor which features tracks by Drexciya, Dopplereffekt, NRSB-11 and many more, available here.

“I was sitting there and thinking, ‘What am I doing here? I’m actually doing a deal while fishing! It’s like fishing for Drexciya or something!”

According to the RBMA article by Mike Rubin, in the late 90s Carola Stoiber of Tresor was taken by James Stinson to Detroit’s Belle Isle Park for an afternoon of fishing. Sounds like the kind of place he would have hung out at, there is even an aquarium there.

This is a link to yet another new Drexciya tribute mix, this time from Radio Interferencia. Fan mixes of the music of Drexciya and or Heinrich Mueller have by now become something of an online phenomena. When I search for Drexciya now in Mixcloud for example I do wonder which other artist has more and that is just one host! Even I've made one!

One of the more surprising new pieces of information about Drexciya from the RBMA article by Mike Rubin was that the Shifted Phases album, The Cosmic Memoirs of the Late Great Rupert J. Rosinthorpe (2002), was produced by Gerald Donald and given as a wedding present to James Stinson (he must have gotten married in 2001?). This is according to Carola Stoiber of Tresor. I guess if this is true, perhaps Stinson only came up with the titles and concept. We will never know for sure how it all came together but it's interesting to listen to these tracks in this different light and illustrates just how musically similar and interchangeable they could be. Drexciya were never about the personalities behind it anyway so it's not that important.

“I know they had rented a hall on Gratiot,” says Banks. “It was shaping up to be the after-party of the year, but they pulled no permits and the cops showed up. That’s about as close to a Drexciya live show that ever happened.”

I also learned from the article that they had planned to make their live debut with Dopplereffekt and Ultradyne at an after party show during the Detroit Electronic Music Festival in 2001. It looks like they had no permit to have the show and the Police must had heard about it and closed it down earlier in the day. This must be a contender for the best show that never happened! I found a link for DEMF 2001 and it does say, "rumor has it that Drexciya will make its live debut alongside Dopplereffekt and Ultradyne."

Dopplereffekt and Ultradyne playing live during the Dekmantel festival in Amsterdam, Holland. Dopplereffekt play on Thursday 3rd August and Ultradyne are on Sunday the 6th. They would even make one hell of a double bill. This is a rare live show from Ultradyne these days and they do put on an amazing show. Staying on an Ultradyne tip, here's one for you to think about, why would they be playing Transllusion's 'Crossing Into The Mental Astroplane' from The Opening of the Cerebral Gate album at this live show from 2007. It doesn't appear to be a DJ set as another video I link in comments from the same gig shows they are playing live. Perhaps they collaborated on just this track or the whole album?

“The idea that an artist probably in her early 20s clearly had come to Drexciya by her own path and had come up with this kind of artistic rendition complete with maps and place names was very striking to me. It’s just a small example of how they continue to impact artists of all kinds in very unexpected ways. I was kind of moved, actually, as well as amazed and impressed, and it suggested to me that the spell of Drexciya – the capacity to encharm and to summon world-building – has not diminished by any means.” - Kowdo Eshun

I think I found this mix mentioned at the end of the Red Bull Music Academy article about the legacy of Drexciya. It's called, Interstellar Fugitives: A Cosmic Memory and Astronomical Guidepost of Drexciya (2016) by the Spanish/Argentine artist, Magui Dávila.


Thursday, June 29, 2017

Infinite Journey to Inner Space: The Legacy of Drexciya: RBMA and more


There is quite an epic article about Drexciya and their legacy by Mike Rubin at Red Bull Music Academy. There are lots of brand new interviews with people like Brendan M. Gillen, Dan Bell, Frankie Fultz, Liz Warner (Liz Copland of WDET FM), Cornelius Harris, Carola Stoiber (Tresor), Serge (Clone), Abdul Haqq, Kodwo Eshun, Mike Banks, Greg Tate and more. Even I was interviewed! There are great illustrations by Mark Dancey too. Some very interesting new information, lots to digest.

A new Dopplereffekt live show has just been announced. They are on the bill for the opening event of the Present Perfect festival in St. Petersburg, Russia on 28th July. Actress and Clock DVA are also in the line-up. Dopplereffekt also have an upcoming Berlin show on 7th July at Tresor with DJ Stingray, The Exaltics, Helena Hauff and more over 3 stages, great line-up. The night is also to launch the DJ Stingray mixed Kern Vol. 4 on Tresor which features tracks by Drexciya, Dopplereffekt, NRSB-11 and many more.

If you have pre-ordered Jack People's, Laptop Cafe, you may have gotten a message, as I did today, that 'the release date has been pushed back for all stores and is not set to be released until the week commencing 10th July.' This is not surprising with what I hear about pressing plant delays these days. Just a little longer to wait then for this unreleased James Stinson project. I am sure it will be worth the wait, samples here.

I found this video overview of Sonar 2017, you can catch 30 seconds worth of Dopplereffekt live at the 6min 18sec mark. Looks good and sounds like a new female led vocal track.






Sunday, June 04, 2017

Two James Stinson interviews from De:Bug from 2000 and 2002


Typical, you wait years for one 'lost' James Stinson interview to turn up then two show up at once! I was not aware of either before and just found a mention of a Drexciya interview with the German print magazine, De:Bug, on some music forum on a random Google search and they turned up on their website. I don't know how long they have been archived there, maybe for a long time. If you can read German then go straight to it here.

The first interview comes from January 2000 and was to support Drexciya's Neptune's Lair album on Tresor. This is quite an extensive interview but as I said the text is only in German. For English speakers I've used an online translation service (which is very far from perfect) and have archived just the questions and answers section below. I think it's close enough to get the gist of what he's saying and it means you actually have to read the text much more closely than usual to figure out for yourself what is being said, which is quite an interesting exercise. Although, if anyone has the time and would like to send me a closer translation please do. The second interview is much shorter and thankfully left his quite short answers in their original form, but in this case the questions are what get lost in translation. In both cases no journalist is credited.

James Stinson interview with De:Bug magazine (26th Jan 2000)

De:Bug: How do you come to release music on different labels like Rephlex and UR?

It is perhaps to say: we are floating. If you have a relationship that is people based, then you may develop further, you can maintain a while, but then it may be that you are moving toward somewhere else. We move against the rules, and that is the one thing that we believe in, be against the rules. Not to do what someone tells us, and not to do what someone as the only road shows. Saying that we feel that it is a different way.

De:Bug: Who says you have to?

The industry. Such as Frank Sinatra said he made it in his own way, and this is exactly what we say. We do it our way. If we are dealing with other record companies, then we deal with other fragments of the business. Sure, you can say that 75% of the label your disks in the same area, but these sell 25% rest is also there. And in this way we are creating a larger territory.

De:Bug: Did you ever come to Europe?

No, but I plan it. For the year 2001, the 10th year of Drexciya. You could say that it was like in one of our songs, 'Species of the Pod', it takes ten years to hatch something, and if it is slipping, it is manifested as a completely different species. We have tested the water, if we have found a continuity, then we have here and there a record is released, then stop and again return to the laboratory in the cave, hibernating. 2001 is the time in which we travel, but now I go nowhere. There is too much work in the laboratory.

De:Bug: The tracks to Neptune's Lair have several different styles?

Yes. We try to have our music make something for everyone, 360 degrees, so that if someone does not like a track, he maybe can find another good one. If it is dance music or for listening, this is of no interest to us. We make music to the ears of the people to rejoice, because I wish to maintain the tradition that I grew up with. At that time, and heard the people music you happy powers. It was not made for ego or for money.

De:Bug: What kind of music was that?

I have heard everything. From new wave, Punk, Rock, Techno and Hip-Hop, or what it was at that time. Africa Bambaataa, Newcleus and so, and there was the P Funk Allstars, George Clinton, Jimi Hendrix, the B52's, Wham, everything. Here in Detroit new wave and hip-hop radio was most important. The musical talent of that time had a lot of energy and work in the music. It was not a matter of a couple of buttons to press. And we want to work just as hard ourselves.

De:Bug: Is it possible that in Detroit you are perceived in the same way as here? Very low profile, unknown, something mystical? The people look to you but on the street.

No, not really. I am very overcast. We are not in either posse, we do not go too often to parties and if there is a rather short time, inconspicuous, take care not to this "Show who you are"-Ding. I do not like this image to push. I must also not. It is more important to me if people can feel, what Drexciya is. This has nothing to do with the fact that we often had to see me. I want with my music like and perhaps with the visual impressions that it creates and accompany them. Animated videos to make better to show what Drexciya, because live videos are completely excluded, finally you had to add the real feeling of Drexciya to get a line in my head.

De:Bug: who really is your partner?

You know that I do not like to say, but well, it is Dopplereffekt. As we face a while Drexciya again on ice, to research, he decided to make his own project, and that is also nothing wrong. But we believe that the two things are very isolated. Maybe one day I work also solo, but now I am not ready yet. Drexciya can only be used with the two of us, because alone is simply a different sound.

De:Bug: Would the concept of water still be so important when you are working alone?

Let me say so. Water is the strongest element on this planet. If the polar caps would melt, then we were completely flooded, nobody could stand or as much water will evaporate. We are all dead, we're floating somewhere. It is the strongest, most dangerous, most beautiful, most fragile, most aggressive element there is. And that is what we are discussing. We are aggressive, lightweight, quiet, violent, can be beautiful, rough, ugly and all of these things with music.

Water is also the place where there are no problems, up here is so exhausting. We try to keep this violence of Drexciya. Drexciya is really peaceful. Therefore, we also always return to this peaceful, jazzy, ambience side of life. The military point of view that UR use is very strongly for us more as a reservoir. But after the reserve we always come back to Drexciya to be what we are, civilians.
I have met a lot of people, if you hear our tracks and the title to know, understand and be able to feel, where we come from. We always title our tracks after we make them. Titles add an additional dimension for the tracks. If we make pieces, it is always also a moment we produce. It's all live in one or two takes. If something static noise, then there is the whole of a signature. It can never be remixed. This is important to us because we never saw anyone a Drexciya track remixes. We would not even ourselves. This destroys the music and what music should be. I hate it. And I see that as things happen, I despise. Remixes are an agent of segregation. There are various mixes for different "races". Why can it not only ne one for all, as it once was? Music is for everyone. You try to separate us so. The music industry. And the people are not talking time over all the R Kelley's and Whitney Houston's, you know it will probably still not time. They do not think about how the remix will be used for and why. On the so-called black radio stations was formerly everything, but now only "black music". The separates us mentally, and not so shall it be. And I will be not be a park of this plan of the industry.

De:Bug: But segregation was at least before.

Yes, there were always segregation, but we have tried to get rid of them. And in a certain way they have re-established. Then came the people really. Through the music. And they heard everything.

De:Bug: and it was also very important for the history of music Detroit.

Exactly, it brought things in gear. It was more fun. And the people were quieter, safer. Now everything is much one-sided. Tunnel Vision. There is no other taste more. This is not good.

De:Bug: What can you do?

I can only hold itself out. Not to participate and refuse me. The other must be aware of what is happening and cease to participate. Perhaps the people waking up in a sort of snowball effect.

De:Bug: Will the next Drexciya record again take so long?

No, this is the calm before the storm. You can hear it. See it on the titles. If you are truly intelligent and I like that the people who like Drexciya are all thinkers, intelligent people, then you will hear what is going to happen. We have to actually say nothing about. Listeners can Drexciya us the lyrics.

De:Bug: What do you think about the change of underground resistance has given some time ago, when she suddenly with high-tech radio as a kind of new focus appeared everywhere.

I can't talk about this. I am rather too remote from it. The reason for this is that I am not the vibes of the other wants to take over. I am sure own. But if you do a lot with someone are, then puts you in their nature, their movements and words. I do not in the music. I also try not to pursue what is musically happens. This gives me energy and keeps me fresh. I am trying to be myself in a certain way some of the things to be naive to hold. I do not know, do not know and I don't want to know. The only thing that I need to know is whether there you goes well, and you, whether it goes well and that you have will help if not.

-------------------------------------------------------------

James Stinson email interview from De:Bug magazine from 18th July 2002. The interviewer comments that the answers are very short and don't always answer what was asked (the translation of questions are not accurate so it is a little confusing but the answers are what he sent them).

De:Bug: What technology plays a role in the world of Drexciya?

Technology plays a big role in the Drexciyan R.E.S.T program. R.E.S.T= research, experimentation and science and technology.

You have new sound aesthetics on Harnessed The Storm, how did you change your production conditions?

 50% altered and it will be altered again and change is good.

What does a digital tsunami feels like?

Digital tsunami is like sitting in a 5×5 anti-gravity room set on zero gravity surrounded by speakers and the rich pure sounds pushes you in many different directions.

How exactly do The Other People Place and Transllusion projects fit with Drexciya and for what purpose is this?

They are some of the mechanisms that form and harness the storm that has been created. They are just two of six black stabilising spheres.

Furthermore, Drexciya makes it clear that inspiration for his own work comes pre-eminently from God, but in no case from the current electronic music, because that would destroy the experiments as Drexciya describes her sonic deep sea excursions. 

Not to say that their projects are bad.

Pluralism is also written underwater. The same applies to the musical tradition, because Drexciya's sonic fiction is anything but a seasonal business: 

It means everything. Without tradition there would be no music.

However, when tradition begins and where the musical present ceases, it will always remain secret, as the answer to the question of the public policy to be expected in the future suggests: 

In 1999 Drexciya was shedding a layer of skin. Now this is the new beginning, a few interviews will be done and there will be no more for quite some time. Due to a heavy R.E.S.T schedule. 



Wednesday, May 10, 2017

Doplereffekt - Cellular Automata video and Entropy live shows



Dopplereffekt will be playing a very prestigious day event at this years Sonar festival in Barcelona, Spain on 15th June. It is one of their rare Entropy multi-media shows. Surprisingly this will be the first time they have played at this cutting edge festival.  Full details of show here.

It looks like there will be a free Entropy show in London on 6th June, you just need to book a place at this link. I don't know if Dopplereffekt will be appearing live, they are not on the poster but the second part looks to be the full Entropy show so maybe they are, unless they use a recording. Decide for yourself, if I was in London I would book a ticket for sure! It still looks very interesting though, the full text for the event is as follows...

The Event consists of two parts each an hour long:

(1) three short talks by young cosmologists about dark energy and dark matter, and how to measure it, followed by a question and answer session. The talks will highlight the excitement of working in this field, and will be pitched at a level accessible for the interested general public. The event will be hosted by Prof Lucie Green;

(2) a production in images, music and narrative called "Entropy – an immersive cosmic journey that tells the epic life story of the universe and its stars.". The narrator is Dr Dida Markovič, and the production is staged by Antivj artists, with a team of creative coders lead by Elie Zananiri and Arturo Castro and music composed by Dopplerffekt.

Leisure System have posted a 37+ minute video which contains visuals for the entire Cellular Automata album by Dopplereffekt. Enjoy your trip!

Dopplereffekt are no longer on the bill for this years Movement festival in their hometown of Detroit at the end of May due to Visa issues according to this post by booking agent, LittleBig.

New Arpanet show just listed on Resident Advisor for Lyon, France on 5th May. Not too long to wait for those lucky enough to attend.

This is a 4 hour Drexciya special from Radio Spiel-Trieb, from September 2007, that has been recently uploaded to Soundcloud.

After a long wait the WeMe website is up and running again. If you look at their catalogue they have a few Heinrich Mueller related releases at very decent prices, including the clear vinyl edition of the Der Zyklus album, Remormalon, for instance. A few nice test pressings left too and releases by DJ Stingray, worth a look

Tuesday, April 25, 2017

Jack Peoples - Laptop Cafe unreleased James Stinson project due on Clone Aqualung




Great and very unexpected news! Clone Aqualung will be releasing an unreleased James Stinson project, under the name Jack Peoples, on June 26th this year. It will be a mini vinyl LP under the name, Laptop Cafe. You can listen to samples of all six untitled tracks (there are 5 new tracks but there is a vocal and instrumental version of one) at Soundcloud, download the artwork and samples of all six tracks at Clone Distribution and listen to the same samples again at the Clone shop! This blurb accompanies the release...

'On the heels of the two "the other people place" releases in the early 2000’s another related mini album was already in the works. It never saw the light of day due to James Stinson’s untimely death. Finally it resurfaced on a long lost DAT tape.'

I wonder how many more unreleased projects and music there might be waiting in his vaults, time for Digital Aphrodisiac maybe? James Stinson is most definitely living on through his music and gaining more aliases and mystery too.


Wednesday, April 19, 2017

Dopplereffekt, Drexciya, The Other People Place: New releases, reissues etc




Both the 2LP reissue of Drexciya's Grava 4 (2002) album and The Other People Place's 12"Sunday Night Live at the Laptop Cafe, on Clone Aqualung are both now available to order from the Clone shop and elsewhere.

According to Leisure System's Bandcamp page for Dopplereffekt's Cellular Automata album, 'Our initial run of copies have sold out on pre-order. A restock is in progress, however it means that delivery of LP orders made after March 28th may be delayed until May 29th, 2017. Vinyl purchases still include an instant download of the album on release date. Our apologies for the inconvenience!' They have some images of the album there now and you can play the album's title track. For everyone who ordered before 28th March, the release date is still April 7th. Also, if you go the the  Leisure System  Facebook page you will find 3 short videos of tracks from Dopplereffekt's Cellular Automata album and all the tracks from the album are available to play on the Bandcamp page now.

In celebration of the first Dopplereffekt LP in ten years, Rudolf Klorzeiger and To-Nhan delivered a special mix of records from their personal collection tonight on Red Bull Radio.

A new Arpanet live show has just announced for Berlin, Germany on 21st July. The venue, OHM, is located in the former battery room of a disused power plant.

“There was a long thought process behind this group, a lot of different concepts and principles. Before we even started putting stuff together we used to spend night after night talking about all kinds of deep concepts. That's where the energy comes from.” -James Stinson

I've made a scan of the Drexciya entry from the now very rare book, Techno: The Rough Guide by Tim Barr from 2000. You can see it (and much more) in the 2000 folder at this public GoogleDrive link. This is a great little reference book I bought back in the day, which even though it looks very populist, covers pretty much everyone you would expect, there's even a Dopplereffekt entry. They used the very revealing un-sourced quote above, and the entry must have been written before they returned with Neptune's Lair in 1999. It's interesting to note that even for just their UR period of 1992-1997, Drexciya were already held in very high regard.

This a new radio show by Bob Thompson from the UK station, Purple Radio, which looks at the order of Drexciya's Storm Series and even references my own theory about this from 2005. It's an enjoyable listen with some great music and interesting insights.

There are 3 Drexciya themed mixes by this German DJ and longtime Drexciya fan, MRJN, over at Hear This, well worth a listen.

VLR have a new Drexciya mix, Seven Storms - The Dimensional Waves Transmissions, up on their Soundcloud.  Check out the rest of their Soundcloud account for other Gerald Donald and Drexciya themed mixes, quality stuff as always.

This is a new show from France's 'The Beat Radio Show', dedicated to James Stinson. I love their introduction and there are some great tracks selected. Back in November 2016 they did the same type of show for Gerald Donald. I think the name of the DJ of both shows is Stephan Bomba.

I shared a few videos recently on the DRL FB page that may have been influences on Drexciya or coincidently sound like them. Check out 'Frequency 7' by Visage, it's hard to believe this amazing track is from 1981 (there is even a vocal led version from 1979) and was just a B-side. This was a big tune in Detroit at the time and was championed on radio there by The Electrifying Mojo. I can certainly hear some elements of early Drexciya and the one-off projects, L.A.M. and Glass Domain. This track from 1982, by the French studio duo of Francis Rimbert and Frederick Roussea sounds kind of like a prototype Air maybe, their label, Record Makers, should reissue this one for sure, it's so close to some of Heinrich Mueller's signature sounds.