Rubadub

William Burnett has been making records since 2005. Recent converts to his sound will know him best as Willie Burns, with E.Ps on L.I.E.S, Crème Organization, Sequencias and The Trilogy Tapes. Those who caught on earlier will know him for the Disco-tainted weirdness of Grackle, his work with Legowelt as Smackulator and his collaboration with Elliot Lipp, Galaxy Toobin’ Gang, not to mention teaming up with the mighty Professor Genius as PG&S. Recently he has been known under the names Daywalker and Black Deer, the latter producing a blinding E.P cut by Rush Hour that dropped last month. Whichever name Burnett adopts, one thing is certain: the results are always going to inimitable. Aside from being a prolific producer, Burnett is also a curator supreme in his role as head honcho of W.T Records, putting to wax the likes of Alex Israel, Hunee, Sir Stephen, Ex Vivian and Shawn O’Sullivan to name a few. Mark caught up with Will to ask him a few questions about his status, working at the legendary The Thing, running a label, the mighty Woz and some other highly interesting subjects. In addition he gave us a killer mix for ya’ll to tuck into, consisting of burning psych, cosmic house, recondite bleepcore and beyond, into realms that not even the most adjective-happy journalist could describe…..     

Mark: So I guess most folk who are reading will be pretty aware of your credentials by now: records on L.I.E.S, Trilogy Tapes, Creme, Rush Hour, Strange Life, not to mention the label you run W.T. Taking all that into consideration, is there really anyone hotter than William Burnett right now? Do you ever feel like leaving it all behind and pursuing a hidden passion like say carpentry or paranormal investigation?

Will: Haha, you sure started it off with a belter of a question. Things do seem to be going well for William Burnett from the outside, but until I don’t have to teach swimming anymore, or slave away in that dirty record basement, it’s not good enough for me. Sure, it would be nice to do music full time, but I still gotta pay my bills, and NY ain’t cheap. I’m still a normal person working 7 days a week. I’m not sure if I have another hidden passion. Maybe make some movies or something. I would really like to run away and work on music stuff all day.

Your most recent record sees you operating under the alias of Black Deer for the Rush Hour related “No Label” offshoot. The record seems to have some sort of Native American concept or theme to it, but that’s as far as I’ve got. Could you tell us a bit more about this, if it does indeed go deeper?

Well, my great Grandma is half Chakta Indian, so maybe it’s in my DNA, but barely. I don’t know, it was just something that came out like that. It started because I noticed that Native American chants always had that boom boom boom in some variation, so I figured it might transfer over into some kind of electronic boom boom boom… and yeah… then that happened.

I heard through the grapevine that you make all the Willie Burns material on an SP-1200, right? There was a time when it was inconsequential to most people what gear was used on a record, but the issue of what people use to make record these days seems to be just that, an issue. Is this something you care about, or is it just more of a preference thing in terms of using machines you can rely on to get the results you want?

I use the Emu sp12 Turbo, and it is purely because of DJ Overdose. He saw how I worked and knew what I wanted to do, and kept suggesting this machine. Eventually I caved in and started using one. The workflow is so fast and simple, and the greatest thing about it is the limitations. You have 5 seconds of time and that’s it, so trying to make a track out of one set of samples becomes quite challenging. But also it’s an advantage, cause you aren’t spending 6 weeks making your MPC or whatever sample bank perfect… just load and play. It doesn’t matter what gear you use, but this one works for me now. I’ve lost the gear lust thing lately, and now I just want stuff I can use and that won’t break. The sp12 definitely has a sound, that early sampler grit. Not sure how it works, but something about 12 bit recording and playing back in 16 bit with 4 random bits or something. I’m probably getting it all wrong.

You work at The Thing in Brooklyn, which for the benefit our readers outside of NYC is a thrift store that has a formidable selection of secondhand records. From what I’ve read, it seems to work against the notion of being able to find the music one is looking for almost instantaneously, something we take for granted in this day and age. I’ve heard that it’s pretty chaotic, and not only that, but you guys move shit around all the time, so you’re keeping even the regulars on their toes. Is that true, and if so what’s the purpose? Are you trying to promote digging as opposed to easy access?

Ha. We aren’t trying to promote anything. I’m pretty much the only one that takes care of the records and I only work a few days a week, so that means if I am traveling, no one is cleaning up. Basically all I do when I get there is start putting records back neatly. Re-shelving them, putting them back in the crates and re-stacking everything. If we get a new shipment, which happens way too often, I try to take out as much of the garbage as I can before it gets put out for the hounds. We aren’t working against the customers. I try to keep as big of a shopping area open as possible, and keep it safe: people don’t realize when they stack stuff all stupid they are ruining the records and that they can have a crate of records fall on them or someone else. There is no plan, although I kind of have a flow going from upstairs to one side to the other in terms of newest arrivals, but that always gets screwed up. Basically there are too many records in there.

You must meet some genuine weirdos at The Thing. I can say that because until I started working in a record shop, I was one of those weirdos. Surely you have at least one good story that gives us an insight into what the hardcore record buyer’s world looks like?

Haha, I don’t even notice. It’s like the people in my world. There is the Jamaican guy that buys easy listening 45s that farts all the time, and the guy who comes in late and gets wasted on Bacardi or 40s or whatever, and smokes cigs and blasts the listening station. The weird guy from Canada that buys us 40s (I think we still have them behind the counter). Frankie Bones comes in every week, polite as can be, still diggin like a champ. Then there are the record tourists. Each one thinks they are the best digger, and they all proceed to go look in the exact same corner they think no one looks in. Hardcore record buyers are mostly losers, just like us.

What cool shit have you bought from The Thing except from records?

I get everything there. I found an APC belt the other day that had been on the rack for a few weeks. I don’t know… furniture, books, sweaters, jackets, shoes. I got a new laundry basket last week… I had been looking for one of those. And also one of those pads that goes under your carpets to keep it from slipping, and that was a score for me. Normally if I need something, I just visualize it and it turns up eventually.

So the label you run, W.T was started off-the-cuff because you wanted to put out some Stinkworx stuff that wasn’t getting a released, right? I guess most labels that start that way end in tears, but W.T genuinely goes from strength to strength. Are you pretty loose in terms of how the label is run? I wouldn’t imagine you giving a frozen fuck about “gotta strike while the irons hot”, “gotta get this out at that time so it can make the biggest impact” or any of that stuff. Although I could be very much mistaken…

You are correct. I still have no clue what I am doing. But I am doing it, and that is much more than most people. However, I did realize lately that it’s all a game. You can play by the rules or you can make your own, or some combination of those. But what is important is to realize how it works on all levels. You are constantly learning, and it’s pretty fun challenge for me.

My personal favourite thus far from W.T is the Woz thing. It’s amazing in more ways than one. Could you tell us what the deal with it is, and how you came to release this colossus of a record?

Well, I found it at the thing (of course) and I was totally into it. I don’t know what year that was, probably 2006, and then I went on a tour and was at legowelt’s house, and we decided somehow to look him up on myspace and got in touch. So there were some exchanges back and forth, and I got some CDs, and that was in the Strangelife CDR days. So
there was talk of that, and then nothing happened. Then somehow a few years later or then (I can’t remember), I played it for Andrew Lovefingers, and he was gonna reissue it, but then since he is all California and flakey (hahaha, hi Andrew), it never happened. We even all got together and jammed and record 2 or 3 hours of music (me, Andrew, Woz and Woz’s friend Richard who produced the album). Maybe one day I’ll edit that crap down too. But yeah, it just came down to me: I found it in the first place and I had the most contact with the dude, we did it. It’s totally cool cause Woz is my kind of dude, we just get along. Me and Shawn O’Sullivan went to his house and then drove in his Pontiac Firebird to Chapel Hill for a gig with Stinkworx. It was great.

The most recent thing from W.T would be the DJ Muscle series. Considering those records were put together with DJ in mind, I was pleasantly surprised at how they work as solid and highly listenable records in their own right. I never thought I’d be buying a bunch of DJ tools before getting them of course, but I’d buy em even if I wasn’t a DJ, and that’s actually been happening here at Rubadub. Was that a conscious factor while compiling the material for the series?

I had so many tracks and demos and things laying around, but like just one track from each artist, not enough for a complete 12” by anyone. So I decided a compilation series would be a good idea, something people could put in their DJ bag and use, a little bit like Disco Nouveau from Ghostly back in 2001 or so. It just worked out. I put a lot of thought into compiling the music. It also helps that Marion Guillet did a nice job with the art, and most of all
that the artists contributed great tracks. I don’t know if it’s really just for DJs, but yeah, maybe it’s a sneaky marketing ploy, or maybe it was an accident. Maybe I should make a CD of it? Do people still buy CDs?

You’ve been doing your WTBS show on Newtown Radio for how long now? I think you have a good presenting style, if it is even a style. Should Tim Sweeney (Beats In Space, WNYU) be watching his back?

Ha, yes, I even work at NYU. I could probably get a show at WNYU and run Tim into the ground. I really don’t know how long I’ve been doing it, it all blends together. I started at East Village radio in 2005 (I think), and did that for a while, and then switched to newtownradio.com somewhere before 2013, hahaha. But yeah.. I’m way better than Tim at the radio. He just plays his cards better, or differently.

What’s the plans for this year, in terms of your own material and W.T records? Are you planning on maybe doing a tour also? You should hit Glasgow, would be great to have you here. It probably wouldn’t be like Shawn O’Sullivan’s experience by the way. It might be worse come to think of it….

Yeah, I’d love to do a UK/Scando thing this summer. I’m tired of Germany, Netherlands, Belgium, Spain, and France and all that boring stuff, haha. I’ve been there already. Maybe Israel, Greece and Russia too. I don’t know, but really right now I need to pay off my debt for the label. I can’t go anywhere major until I do. I got some gigs coming up in the U.S in NYC, Pittsburg, Los Angeles and Portland, so that should keep me busy for the coming months. I’ll go to Glasgow if you buy my ticket. But as for my music, I just recently moved my studio back into my apt, so I’m finally getting comfortable working at home. I did 3 remixes in the past 2 weeks. So yeah, just gonna keep pumping stuff out cause that is what I like to do. I’d much rather stay home and work on music than go to a crappy bar with crappy people and crappy music.

So to finish off, when we were talking about doing the interview, there was an idea to completely bypass all the usual music and record related stuff, and to cover a vast range of subjects including chicks, sport, food, global warming, peak oil, capitalism, global banking policies and modern feminists. Since we covered absolutely none of those things, do you have any feelings on any of them that you’d really like to make known?

 Don’t believe the hype.

Well, I have to admit I was NOT expecting this. Novation have been shifting their portfolio from synthesisers and drum machines over to controllers and audio interfaces over the last few years so, they’ve wrong-footed a lot of folk by dropping this bomb to mark their 21st anniversary (they’re even older than dear old RAD it would seem) and what a very incredible bomb it is. The original Bass Station holds a very dear place in my heart: it was the first analogue synth I ever bought and it contributed to my now unhealthy obsession with synthesis for which I am very glad. It also sounded absolutely amazing. Raspy, gnarly and practically untameable at points, it was made to tear strips out of speakers and packed a stupid amount of punch for it’s price and size. I’m sure it’s ancestor will do just the same (it is, after all, a fully analogue signal path just like the original) and I’ll be seriously tempted to get one just for old time’s sake if nothing else.

Those of you who aren’t as dewy eyed and sentimental about this particular launch as me are probably asking “what distinguishes this from the current batch of sub £500 analogue mono-synths on the market?”. Well, the Novation Bass Station II has two fully analogue oscillators both with selectable waveforms (sine/sawtooth/triangle/square with PW) and a third sub oscillator for full-on bottom-end phasing bass mentalism. It has a switchable filter, which is pretty interesting because it will allow you to select between ‘classic’ and ‘acid’; the second of which is a diode ladder filter design much like the beloved TB303 as the name would suggest. It also has an analogue effects section, which is admittedly pretty much just distortion but I still think this is going to add a useful bit of grit to the sound and I can’t wait to hear it in action. It has the usual array of LFO and envelope section and, as most of have come to expect, the addition of USB for quick storage of patches and convenient MIDI interfacing to your DAW without a secondary box. It also has an arpeggiator and SH101-style step-sequencer. Yep, this machine is under £400 and it has a step-sequencer! That is bang for your buck right there!

Having said all that, you needn’t take my word for it. Go check out the competition: namely the Arturia Minibrute, the forthcoming Korg MS20 reissue, DSI Mopho and the Moog Minitaur and judge the winner yourself.

I for one can’t wait to see it in the flesh. Hopefully we can rekindle some of that old magic together. Ladies and gentlemen… The Novation Bass Station II.

The 500 series format (or lunchbox) has been around for some time (to be precise: 1978 with the launch of Datatronics first 10 slot powered rack) but it’s only relatively recently come to prominence. Maybe it’s because budgets are getting tighter or maybe it’s because studios are getting smaller but the lunchbox seems to be de-rigeur in a lot of setups these days.

It’s probably because the 500 series is a modular format (and anyone who knows us knows we love modular!) meaning it’s affordable, customisable, compact and portable. What you start with is the rack, which is a powered case with audio I/O on the back. These are available in various sizes from various companies ranging from whopping 10 slot, 19” rack-mountable monsters to compact, wee ultra-portable 3 slot boxes. Once you’ve got your desired rack, then you  can start having fun buying modules…

It’s good news then that there are tons of manufacturers around making interesting, high quality audio processors for you to slot into your lunchbox. These range from conventional compressors to weird and wonderful sonic manglers like the Moog analogue delay and ladder filter. Check it’s capabilities in this vid!

We’ve also been impressed by the folk at Golden Age Projects. They’re making faithful recreations of some classic bits of analogue hardware in the 500 series format including this rather impressive microphone preamplifier. Kudos to the first person who can name what it’s been modelled on…

The dons at Radial, who have been making high-end problem solvers and other audio accessories since 1991 have also been pretty instrumental in the lunchbox game and they have a collection of compatible equipment including the incredible Komit compressor.

It’s also worth checking out new kid on the block Lindell Audio who are making a stunning range of 500 series modules and racks at seriously competitive prices. Oh, and when we say they are a new kid, that’s not strictly true because the man behind Lindell Audio is one Tobias Lindell, a music producer who has been around the block and knows a thing or too about high quality audio engineering. Watch this space for some arriving at RAD…

Warm Audio are deserving of your attention too. The WA12 microphone preamplifier sounds lush and, as you would expect, errrr, warm so, it’s perfect for adding a full, rich tone to your vocal processing.

And, of course, we couldn’t talk about 500 series without a tip of the hat to the godfathers of the format: API. They were building modular consoles way back in the 1970s and they implemented the VPR alliance, which is our way of saying that these boys know their onions. Anyway, you should all be checking the API gear out. It’s the nuts.

All that and we haven’t even mentioned the plethora of DIY projects and other nerdy stuff out there for the lunchbox….

It’s been that Long I’ve forgot what number I’m at. But in that time I’ve been learning to put pictures up. It’s the full audio visual experience. Well for me anyway. I’ve been inspired to get back into the blogesphere of recent, as I’ve heard about a couple of people that have actually bought records they have read about in this here blog. Mental ! But what’s more mental is that they actually seem to have liked them. 

I was going to try and get a wee MBRBE wax in about the hot current dancing anthems that are making me strip down to the under crackers, don the headphones, close my eyes and go Paisley mental, before we hit the wedding season.. of which there are few this year. I’ve got 3 in 8 days. 2 in 1 weekend, and most are requiring some tunes.. so that will be the ploughed musical furrow for a few months. Watch this space. We’ll see if your so keen to buy the tunes then eh. That will be the Back room test !  Quite looking forward to sharing some of the wedding secret weapons actually.. some of my favourite records. 

Back to the task in hand. Listening to records. The wife is away on a hen doo for one of the aforementioned weddings. Fiona’s managed to wangle the girls away to Amsterdam. The guys are going to Tom’s in Loch Lomond. Well not actually in Loch Lomond, well maybe a few, but it will just be a musical lockdown. Perfect. Right looking forward to that. 2 days of good records. Apart from mine of course. 

So with the wife away, I have been doing all the things I’m not allowed to do. Like working on my scooter in the hall.

She’ll never know. She doesn’t read this blog. 

Oh aye records. Well I canny seem to get off the love and wedding vibe, and started to record some tunes to send over to the girls in the Dam. If you’re interested, some of them were, Gallifre and Mondee’s Don’t walk out on Love on Gherkin, Blake Baxter’s Your All I ever Wanted, Karen Young I’m Hot for You, Shalamar Right in the Pocket, a bit of Church action with Moodymann’s Ya Blessin, and Fiona’s fave Oh Romeo These Mammery’s, sorry Memories from Bobby O. I’m Blessin You’s.. except I better hurry up and get it to them. Which probably won’t happen tbh. Another one strictly for my own enjoyment no doubt. 

So aye tomorrows music today. New 3 Chairs promo sounding good. Available soon in way too small quantity. New Dixon Ave Basement Jams, Marquis Hawkes. DABJ-1204. That Higher Forces is pretty killer. Been rocking my back room jams (sounds a bit dodgy) for quite a while now. The privilege’s of the white label. Now released..

http://www.rubadubrecords.co.uk/music/house/higher-forces-at-work

Another RAD associated label,  well not associated really, as it is ours, is a wee series of releases we are pressing, usual white sketch with a stamp, and by hot talent that make good records, and we want to release. How’s that for a concept for a label ! Thinking outside your box. No artwork or names. But you may get a clue in the catalogue numbers. Or just by listening to the music even. RAD-AN1 being the first. Maybe I’ll give you a bit of inside info, to say thanks for reading this far. Without giving too much away.. if you’re in a club and you think you see Justin Timberlake’s wee brother dropping some quality House jams, then it may be this man. 

While we are on tip of self promotion.. not really our style, but I’m going to roll with it for now. Like buses. The other night I had a tune in my head, and was doing the preverbal nut in as knew it so well. The more I sang it to myself, the better it was getting. I knew it was a big record for us, that could have been from anytime in the 15 to 2 years. Then I got it. Turns out it was on our own Dalriada label, which is from not a kick in the arse off about 15 years ago. Stands the test of time, at least in my heid, which I suppose was the main pre requisite of the labels concepts. 

http://www.rubadubrecords.co.uk/music/electronica/neverland-sleepovers

It’s about time we got a bit more active on that front.

Watch this space as they say..

That’s it for the licking your own arse show for this evening. I better go and get the wife sent over yon recording for the hen party, before they come home, and I’m still standing here listening to music. Hopefully not in my Y fronts, and headphones on. I’m sure there’s an urban myth in there somewhere. 

Oh before I go.. and while on a promotion tip, here’s an avenue of PR we were exploring a few years back. Didn’t catch on though. 

Respect to that man. I think I took the tattoo’d promotion a bit far, when I got a flyer for a gig at 69 tattoo’d on my chest. Orland Voorn special guest, 19.11.97. Timeless I thought. Until the day after the gig. It wasny that though.. he never turned up ! 

Might be about time to stop typing shite. 

Night Night

We’ve been fans of Ableton since day one. It’s no exaggeration to say they totally revolutionised the way the people use computers for making music when it was launched back in 1999. It would also be fair to say we’ve been waiting a little while for this latest update and Ableton have got a lot riding on it. Expectation is pretty high and on first tests we’re pleased to report we’re pretty chuffed with it.

The browser is waaaayyy better than it was previously (with extremely slick link through to MAX/MSP), the time stretch/pitch shift is audibly improved, there are more effects and they all sound gallus, the user interface has the same streamlined, slick look we’re used to and, perhaps most importantly, the new audio to MIDI function is absolutely incredible.

Basically, it’s what we’ve come to expect from Ableton: simple, effective and incredibly usable software with absolutely unparalleled workflow. You can order your copy of Live 9 here or order you copy of Live Suite here.

….and we haven’t even mentioned Push yet….

Oh, and did we mention there will be a free pair of Pioneer HDJ-1500 headphones being given away to one lucky entrant?

For the record, it certainly wouldn’t be bombastic to say that Creme Organization is one of the most influential labels of the past 10 years. Coming straight outta The Hague and having strong links with Bunker, It’s formidable early catalogue featured the emerging talents of none other than Legowelt, Orgue Electronique, Rude 66 and Bangkok Impact to name but a few, and in more recent years the label has released cuts from John Heckle, Myrriad, J.T.C, Willie Burns, Traxx, Basic Soul Unit and D’Marc Cantu. Creme also boasts one of the most arresting visual aesthetics around, with a majority of the artwork bearing the stamp of supremely gifted draftsman Mehdi. All this makes for a meaty stew of raw and nourishing realness. Or in some cases, unrealness. Oor Merk caught up with label founder and owner TLR to talk past, present and future shit. Not only are TLR’s curatorial talents evidenced by the strong roster and release schedule of Creme, but he also happens to be a seriousely fine DJ, which many of you will be aware of. Luckily for us, he canned some of that heat. The result is a beast of a mix which can be found below, chock full of exclusives no less!  

Mark: So, you’re at work? You share an office with Mr. Tavares of Bunker fame and the stupidly talented Mr. Mehdi, right? 

TLR: I have an office with Mehdi.. here’s some corporate info: 

Mehdi + Me = IQ82 Media = Godspill Mailorder (with one other guy working for it)

Mehdi = Godspill

Me = Global Darkness = Creme

Bunker is stuck in a basement somewhere

Ah, so Guy is still operating from dank premises somewhere in The Hague. For the young ‘uns out there, tell us what Global Darkness is…

Its the umbrella company for Creme, some internet crap etc. It’s just the thing I chose when regestering at the chamber of commerce. “Are you sure about that name sir”? “Yup.. quite.” Haha.

In terms of web presence, I dare say that Global Darkness was pretty influential though….

Yeah I guess it was. It was one of the first things out there, before discogs, wikipedia etc. that made an attempt to organise info about this thing of ours: artist bios etc. And the forum was a big thing back then. I think the only other thing that was about the same was Electro Empire and Phinnweb. Internet 1.0 was a very different place as you will remember, being over 30.

Yeah, the children don’t know how hardcore and real it all was.

Nope. And I can take you back before the internet even with letters and faxes and shit. That sounds ancient even to me now. I dunno how the hell we managed.

Tell us more ancient one!

No cellphones. Goddam gramps, you tell em. Anyway, back to the now.

Indeed. I’m guessing that beards is a mandatory look over at Creme/Godspill HQ? Like a work uniform. You have to have a shaved head and a face tattoo to work at Rubadub. Are we simply perpetuating a stereotypical view of underground techno/house blokes by looking like baldy, beardy moody cunts?

I think it might be like women in an office who sync their periods… some subconscious thing were you align to a tribe. We’re working on some gang sign too.

And Creme’s been ploughing the field of unrestrained talent for what, ten years now? At what point did you realise that their might be something in this whole releasing records thing?

Yeah, well over 10 years now. I realised there was something in this whole releasing thing straight away. It caught on very quickly for us, and I was sort of riding a high for the first few years. Then minimal came, and the crisis and web 2.0 reshuffled all the cards in the record bizz. We sort of survived that slump and now we seem to be on the right side of hip again, so that’s cool.

In regards to being on the right side of hip, why do you think that is? There’s certainly a bunch of like-minded labels flourishing at the moment too, some who may even have been inspired by Creme…

I dont know exactly, but it seems like the pendulum of taste swings back and forth, even if it’s becoming more and more diffuse these days with so many things existing simultaneously. There is obviously some Zeitgeist involved. But I like to think its also because I have dedicated myself to releasing music I like without being to conscious of what is going on around me, or what is hip or not. Somehow this personal approach is a bit more timeless than a more businesslike one. I notice a lot of people around us are there for years and years, and a lot of the likeminded labels & artists (which I feel close to) have also been around for ages, toiling in obscurity mostly. All of a sudden its cool to be an outsider or something. If they only knew what it’s really like, haha.

Of course. I guess those who are in it for the money are a bit deluded anyway, aren’t they? I mean, you might as well put all that time into studying law. Because Creme has already passed through myriad trends, are you better prepared for when the shit hits the fan?

Well, I think the cowboys days of the music bizz are over, right? The times in the 90’s when you could still shift 20,000 Unit Moebius records (like KK did) and make a quick buck are behind us, so it attracts a different kind of “entrepreneur”. As for me, I have no special preparation. Just a crazy low overhead and no way out, so its either swim or drown like a pwopah shark.

Well, without wanting to sound terribly fucking cliched, there’s more than a bit of punk in that attitude.Your love of Punk and Hardcore is pretty well documented actually. I think that ethos can be seen and heard in Creme, in it’s own special way, would you agree?

Yeah, it all boils down to DIY I guess. In my formative years I have spent way too much time listening to Crass “Big A, Little A” and reading dodgy fanzines and going to low level gigs in squats and stuff. “External control are you gonna let them get you? Do you wanna be a prisoner in the boundaries they set you?” Somehow it all seemed very natural to me, like the only way to approach anything is with a DIY attitude. All the great art is made that way, wether its by choice or out of necessity. Nothing good has ever come from the corporate world. They might incorporate something good, but usually they just end up sucking the life out of it. Which doesnt mean I am “anti system” or anything, but I do think the important stuff should be left to the individual. I will still call the cops if my bike is stolen though.

Ha! Is your dedication to said DIY approach and the running of Creme the reason why there isn’t more records with your name on them? There was Mr. Clavio with Legowelt that we know of, but maybe there’s some gems out there that we didn’t know you were responsible for?

It’s not so much a dedication, more second nature. I really don’t think about how to approach stuff. I wouldn’t know how to do it any other way. I am a dilettante. Music wise I get up to some things, but under the radar for now. I might throw some stuff in DJ sets or whatever, but I have no plans to really release anything at the moment, and I wouldn’t really wanna use Creme as a platform for some shit I made, because it’s just too easy. If I do anything I will give it to other people first to kind of legitimize it to myself, and others whose opinion I value. But as with anything I say, this may swing wildly within the next 24 hours and I might have a release out all of a sudden.

Next up in the Creme release schedule are “Commanchee’s Revenge” and Str8 Jakkin Kru, right? Two completely different, yet amazing records that may or may not come from the past. All rather clandestine. Can you shed shed some light on the origins of these records?

Lets just say “Commanchee’s Revenge” is pretty easy to find out if you know how to use google. Str8 Jakkin Kru I don’t know if we can release with all the samples and stuff, although I would like to. I have to figure out how to do that one because I think its great (and legit for once as well). I mean there’s no smoke screen around it, it’s really was done by a bunch of guys in the early 90’s that had no pull whatsoever, and were just ignored. If only they had known the DIY spirit, then discogs might have another $400 entry. Next up is Orgue Electronique’s remix of Henry Saiz’s “Our Discovery” too. Lovely tune. That and Commanchee are first up.

OK, so Comanchee’s Revenge is Legowelt? Now that I think about it, google wouldn’t even have been necessary. A closer listen might have been adequate! 

Yeah, its that dude again.

Last, but most certainly not least, tell us a bit about this blinding mix you’ve graced us with. If there’s anything to tell that is….

There’s a ton of upcoming stuff in it. I get sent a lot of music (most of it garbage), but I am also tapped into some cool channels. I kinda forgot about this one because I end up doing a few a week, just so I have something to listen to in the car, but let me see.. yeah.. this one has some upcoming stuff from Awanto, Yor, Jared Wilson, Myriadd, Bleak and some things I am not sure whether they’re out or not. Also some new stuff I dig: MCDE, Theo Parrish, DJ Muscle from WT and some Neville Watson things. Thats about it I think, all thrown through a variety of appliances to make it pump like a beast in heat, cause I like a thick, crunchy, bass heavy rolling sound in the mix.

Find out more at…

http://www.globaldarkness.com/

http://www.globaldarkness.com/djtlr/

One of our favourite manufacturers hits Rubadub for a party and a demonstration of some of their fantastic hardware on Saturday the 23rd February. Elektron have consistently produced some of the most exciting, intuitive and heavy-sounding bits of kit out there since they dropped the SidStation on us way back in 1998. It’s fair to say that we’ve been fans since then and what better way to celebrate our long-standing relationship than with a proper knees-up in the shop. They’re bringing two of their finest over from Sweden and we’ll also be joined by long-time Elektron user and friend of RAD, Neil Landstrumm. The guys will be on hand to answer questions about the gear, demonstrate all the lovely toys that they make and then we’ll round off with some live performances. Sorted. Spaces are limited so, be sure to register on the Eventbrite page here and be quick about it!

In the meantime, why not whet your appetite by having a look at all the lovely Elektron stock on our website here.

Well it’s Rubadub’s 20th Anniversary Birthday bash this Sat, 24th Nov. There may be a few tickets left, if you phone the shop.. but I doubt it. 

I’ve been trying to find some of those classic records that have made their mark with us in the last 20 years. Far too difficult a task, if you’ve got your records filed in the order I have. 

The first record I need to find is Wladimir M’s Goin’ South. (Eevolute002). Got a few copies. I have one here that sounds terrible, as if DJ Hedgehog has been spinning it when I’ve been out. It’s been an anthem from the very first nights of 69.

I’m going to digress a bit here into Techno-storydom..

While our shop was in Virginia Galleries, there was a chap looking through the records. I said, ‘Can I help you big man’. He said, “Oh I see you have Eevolute Records here.. I have recorded for Eevolute. My name is Wladimir’. ..I nearly fell on my arse.. what like Vladimir the Impaler with a ‘W’ ? ..Then told him how much we loved his records. He didn’t have any clue as too how much though. He’d really need to have been to 69 I suppose for that. 

Anyway.. no more Techno stories this blog. Just records, that may, or may not get played.

I’ve been a bit demented trying to find EFF’s 420 Low.. which I can’t, amongst others. 

I also need to Find EPY, MMM, EOG, DSR, (and some other capital lettered artists) Erik Travis, Lory D, G2G, which I’ve just found, well half of it.. and Journey to the Dragons has got to be played. Jazz Is the Teacher.. and maybe a few other Detroit Classics. 

Octave One Foundation is in the bag, and Optic Nerve - Trilogy Wave 3, Sonar 123, H-Men Scream.. which is from Chicago.. but hang on I feel another Detroit Techno story coming on.. 

Tank - Bite before you bark (Ignitor003) .. is a bit of a favourite of mine. I never tire of listening to it, and when played is often asked by appreciators in the crowd ‘What the fuck is that’. None more so than when we had UR playing at the club, and I was spinning post the live set, and couple of the band members came up and asked.. ‘Who the fuck is that’. ‘His Dug’ I said, pointing to Mike. Tank. Mad Mikes dog. Wee Bull terrier. Forever immortalised in music. Via Orlando Voorn. 

Anyway, I was going to wax about records, and list some, and there’s loads of brilliant labels, that I’ve just pulled out there… that really deserve a mention here, because they have played a major part in our musical history.. but fuck that, I need to put some records in my bag for tomorrow. It’s a wonder anyone gets anything done with this internet shit. 

I’m actually listening to some new records right now. As I said to a guy in the shop today.. we’ll be rocking the old school, and I wouldn’t be playing any new cutting edge promo white label, sorta shit. But I may make an couple of exceptions. Dan’s new DABJ-1204, is a 69 belter, and a certain NY label that I’m not allowed to tell anyone about, until it’s released in about a week or two, but I just can’t help myself. And no one really reads my blogs anyway. If you’ve read this far, then you deserve to know. NS-07. New Novel Sound. Levon Vincent. Rockin in there with some of the best records in the last 20 years. It would be a shame if it was just a week too late. 

So I’ve got about 4 records in my bag, and got a wedding and a birthday party to go to tomorrow, so that’s about it for this BRBE… I better go and hone my skills.

Keep it Unreal.

How time flies, eh? It’s been 20 years since Rubadub first opened it’s doors to start supplying all you good people with the very best in underground, electronic music (and latterly, equipment) and I think it would be fair to say that it’s not been without it’s ups and downs but, on the whole, it’s been an incredible 20 years.

As most of you will no doubt expect, we are having a little party to celebrate our 20 years. In true Rubadub style, we’ve decided to sling the superstar guests and fancy-shmancy venues and do it the way we did back in the beginning. We’re going back to where it began, the best little basement this side of Paisley…. 69.

It’s going to be an intimate night, filled with the finest music of Rubadub’s history supplied by the guys who’ve been buying and selling you the best cuts available since 1992 and beyond!

We will also be partying all-day-long at the shop on Howard Street and we will have special deals on equipment and records plus special guests in-store DJing and playing live… more on that to follow very soon!

We would love it if as many of you as possible could come and join us to help us with the celebrations. All are welcome as always!

 

Check out the FB event page right here.

It’s been a while.. much longer than usual, but it’s time for another back room blog action. 

I’ve been mostly doing weddings, birthday parties, silent disco’s (at weddings), and the likes in the past while.. so I won’t bore you with the records I was playing there.. well I might one day… as I never seem to get bored of them :) 

I have also been away in NYC, and still a bit jetlagged I think, even though it was about 3 weeks ago. My first time there. It’s just like you see on the films. Taking of Pelham 123. Well we spent most of the time on the subway.. but when we did pop up overground we happed upon some interesting musical excursions. Coney Island.. where you had guys set up with their sound system on the boardwalk, belting out some quality NY House, akin the P Garage and Spiritual Records sorta vibe. Maybe about 20 dudes having a dance.. people out walking the dog, and some characters that haven’t stopped dancing since the 70’s. Best thing was, we were the youngest folk there. You wouldn’t get away with this in Saltcoats, without getting jailed or slashed.

Then we boogied on on the F train, up to the Mister Sunday party. Open air, decks uncovered, lights on the trees, food on the go, and even better NY house music.. and maybe few bits from Chicago in there as well. I couldn’t help but think.. if this was in Glasgow… would be waaay different. Don’t think I have to elaborate further. But I will.. Carnagerous I think is the word. Justin, Eamonn and Anthony and crew have releasing under the Mister Saturday Night label..  

http://www.rubadubrecords.co.uk/profile/labels/name/mister-saturday-night

only 2 releases to date, but watch out for the 3rd soon.. by Anthony Naples, and there’s some other forthcoming belters by the Justin Timberlake look a like (without the millions), New Yorker. but he’s on the up. Check him out. NY is a bit of a hotbed of recent, with a plethora of labels rocking out from there these days, inc The Corner, Discovery, Mister Saturday Night, subBASSSS, Deconstruct, Love Revolution, Strength Music etc etc.. and of course Novel Sound, and the L.I.E.S. imprint… That’s provided they’ve not been wiped off the face of the earth by recent super storms !..I’ve been walking out my front door the last few days, into the freezing, horizontal rain, thinking ‘this aint so bad’.

Forthcoming Techno Point of note - Further delay on the Deepchord LP’s.. that have an insert with artwork, and photograph.. (that are framable).. well would be if the printers weren’t in New Jersey. We fear the worst. I’m sure I saw them flying down the boardwalk on the news the other night. Anyway, we’re sorting out.. and will be out soon.

What was I saying.. oh aye records that I was going to play at club.. last week. Got lost in a  Back Room Boogie Time warp there.. next thing you know it’s the next Friday. So aye, this blog shit is meant to be about the records I’m listening to right now in my back room, and not talking shite… 

Now I’m listening to.. Jeedo - Chaos / Scorpio (DTR), Tuff Sherm (The Trilogy Tapes), Legowelt - The Paranormal Soul (CJFD LP), MK on UTTU… over house, and Well Rounded Housing Project 7, and the other Well Rounded white I got today. Sounding good.. I feel a rant coming on… 

Somehow managed to surpress that rant.. or more likely just caked it, as it’s now next Friday, and it’s time for another Back Room Boogie Experiment. Since we  have a birthday party coming up, then I may be listening to a few of the tunes I’m likely to play there. Whether I actually blog about them is another kettle of fish. So like buses.. wait for ages, and two come at once. Or maybe even three. If you’re very unlucky. 

Mother interviews honorary Glaswegian and longtime Rubadub friend Adam-X.

First off, could you tell us a bit about “Second System” and the influences and ideas behind the LP?

The theme from “Second System” comes from a proposal in the 1920’s to build 200 miles of new tunnels and elevated structures in the NYC subway system. The majority of the project ceased to be built but some construction provisions in the already existing system for this “Second System” were built and are still standing. Unknown to most people including subway workers of what these construction oddities are. My fascination on this topic is partly nostalgia of my youthful days of the late 80’s. I spent many days and nights lurking about in train tunnels painting graffiti art on subway trains. I have always loved the exploration of being in the tunnels. A dangerous place which was also one that was forbidden to be in. One of my favorite places to paint graffiti on trains was a section of new train tunnels and stations that would open a few years later. During the years before it opened part of the tunnel was used for train storage. I vividly remember my first excursion through there. It was an amazing adventure to walk & explore through this area of new tunnels and new stations under Central Park and heading off under the East River some ten stories below the ground and yet to be opened to the public. It became a painting playground for my friends and I. Some of the best graffiti artwork of the late 1980’s was produced in this place. Behind one of the new stations we use to walk through was a provision to connect to the “Second System”. I was unaware of this at the time and wondered why this one side of Lexington Ave/63rd st station was left unbuilt but yet had a train track running through it ending at a dead wall. Two decades later I would learn this was a provision for future expansion to the Second Ave Subway , part of what would be the “Second System”

It’s been around three years since the the first ADMX-71 album (“Luminous Vapors”) was released. How do you feel the ADMX-71 project has evolved or changed since then?

I’m not sure if I could really say it has evolved or even changed that much. It just adds on to where I left off with the “Luminous Vapours”. Perhaps this album a few more songs with more melody in it. For me though it is a perfect followup to my last ADMX-71 album.

As someone who’s no stranger to the album format, what’s your method of gathering material for an LP? Are the tracks made with an album release in mind, or do you collect tracks you’ve previously made that you think will fit nicely together, and sequence them appropriately?

ADMX-71 is a very conceptualized project so all songs are written in mind to play next to each other. So yes they were written in the winter of this year as a planned album with exception of “Elevated Dreams” which I wanted to use for “Luminous Vapors but did not have space for. I thought this would work well on “Second System” so I also included it on there.

“Second System” is available on Vinyl, whereas “Luminous Vapor” wasn’t. Even though Digital formats are gaining momentum by the minute, vinyl seems to have picked up in the last year. Was this a factor in releasing “Second System” on vinyl, or are you just as dedicated to releasing on Wax as ever?

No not a factor on my decision to press vinyl. In fact for this kind of music I felt it could be very risky because I would think most people want digital formats for home listening. Though these songs can be played at some club event’s. They were not designed for the techno dj in mind. So I’m not sure those who support vinyl for djing purposed with buy this. I did have quite of bit of requests for vinyl on “Luminous Vapors” and thought to try it with this album. It was also very rewarding to receive it on vinyl with the amazing artwork my designer put together for the project. I really enjoyed listening to it on wax. I pressed it at Record Industry in Holland and they did an incredible job with on the sound quality.

There’s a lot of similarities between your Traversable Wormhole material and the ADMX-71 stuff (in my humble opinion at least), even though they are quite different in what they both aim to achieve. How do the two projects overlap for you?

There are for sure some similarities on some songs between both projects but you might as well add some of my Adam X material in the mix too. ADMX-71 for me is the home chill out or beginning of the night warm up to my other projects.

I read in an interview with you from last year that you really wanted to put out some music that isn’t necessarily the type of thing you’re known for making, possibly anonymously. Are you still planning on doing this? Maybe there’s an Adam X Hip Hop record out there and nobody knows it’s you?

I meant that in a more dance music type way. I do like to make other types of techno such of the housier variety or songs with a much more of an old school 90’s classic feel. Though for me I do not want to mix that up with my main artist projects. So maybe another side project for this.

It seems that a lot of people who were making experimental electronic stuff have recently been trying their hands at Techno, with some pretty far-out results. What you make of this kinda thing (if you listen to it, that is), and do you think it’s important for people from other musical backgrounds to put their ideas into the genre?

Yes I do listen to a lot of experimental music. I am always up for artists of different genres cross pollenating their sounds. It makes for a more forward thinking music culture. 

What’s next in line for you?

Their is a new Adam X 12” entitled Navigational Shortcut / Diversion to Bangor out this month. I have two Adam X remixes out coming out one of which is Italian techno legend, Leo Anibaldi. I remixed his classic “Depression” track from 1992. Then I have a featured remix of Violet Poison coming out soon. Next week Perc and I will put our finishing touches on an EP we have been working on for quite sometime now. It’s a beast. On the Traversable Wormhole front, CLR will be releasing shortly,  Vol 6-10 digitally and a mix CD of the same volumes. Their will also be TW remixes from Sonic Groove artists, Orphx, Northern Structures, Dasha Rush and Industrial Rhythmic Noise legend Monolith. I also just completed an ADMX-71 podcast for Electric Deluxe. It is the followup to the mix I made for them two years ago, which is one of the top downloaded podcasts on their site. On the gig front, I am off to St Petersburg this weekend, Brussels the following weekend then the USA for a month for a bunch of gigs. So yes busy, busy, busy over here!

ADMX-71 - Second System is available from our good selves on vinyl and CD. Cop it here 

http://www.rubadubrecords.co.uk/profile/artists/name/admx-71

Adam-X - Navigational Scout is also out now. Grab it here.

http://www.rubadubrecords.co.uk/music/techno/navigational-shortcut

There was a time in Underground Dance music culture when it didn’t really matter who was behind the music that was being peddled by obscure labels. In fact, a conscious attempt by some to remain anonymous coupled with the sparse flow of information on such subjects in the pre-internet age meant that you’d be lucky to find out who was behind a particular record even if you wanted to.

It was under this veil that lone producers released dozens of records in a fairly short amount of time, going by a different pseudonym for every single one, and in some more famous examples it is still contested to this day whether or not the person alleged to be the creator of these works is even responsible for them at all. 

When thinking of Norway’s Sex Tags this approach springs to mind. Not just because there is a scant amount of info on many of the artists involved with it but also that sex Tags embodies an era when the idea of collective and label stood above that of individual achievement, for lack of a better term. Not that Sex Tags is a strictly retro-fetishistic outfit, but proprietors DJ Sotofett and his maternal brother Peter are proud to wear their influences on their sleeve and it’s the combination of their wide-ranging tastes that makes Sex Tags the unique unit it is.

As Sotofett stated in an interview last year with Phillip Sherburne, Sex Tags is less of a label and more of a long-running project to showcase the brothers’ work and that of their friends, which can include everything from zines to posters and art installations. The actual record label part eventually split into two arms; Sex Tags Mania for House and Techno related material and Sex Tags Amfibia for all the other stuff that didn’t quite fit into that category, not to mention the collaborative mini-label run by DJ Fett Burger, Sex Tags UFO. In this respect, Sex Tags has more in common with multi-media imprints like Irdial Discs, as its not content with settling for any specific genre or format and spreads their creative endeavors over a wide range of mediums. And, as is often the case, the whole thing was born out of a lack of similar enterprises in their immediate surroundings.

Anybody who started making or releasing music in a shitty town or city will tell you that the main incentive was to create their own take on things, looking to bigger scenes for inspiration but invariably ending up with something entirely it’s own that gets squashed through the magical filter of a no-mark environment. Growing up in Moss, Norway, (by the their own admission, a shittay citay) the brothers ingested a protein-heavy diet of House, Disco, Techno, Acid, graffiti and B-Boy culture, something that is evident in the visual and sonic aesthetic of Sex Tags.

E.P’s like Don Papa’s “Distortion Buzz Funk” (MANIA 19) take on the low-slung, B-Boy machine funk tip, while the paranoid spastic-synth runs of Transilvanian Galaxi (MANIA 20) work out some post-disco demons at the wrong end of a three day biscuit bender. More esoteric releases on Amfibia include one-man Organ Black Metal outfit Engvaal’s “En Utvilsom Makt” 10” (AMFIBIA 12) (possibly my favourite Sex Tags release full stop and one of the most underrated releases of this year) and the dirty beach rock of Ungdomskulen.

But the Sex Tags posse aren’t exactly lacking in balls-to-the-wall Techno and Acid material either. On the contrary, some of the finest, roughest and weirdest dancefloor cuts in recent memory have come outta their shed. Hooking up with the excellent Laton imprint, they brought us a killer 12” from Lithuania’s Benzo (MANIA 17/Laton 41), all mad, bad and wrong in its fucked Techno ways. The dusty Detroit vibes of the Reson’s EP (MANIA 23) is also a highlight in the Mania channel showing that the traditional way wot men do Techno is far from dead. 

What wonders Sex Tags will bequeath us next is really anybody’s guess but you can sure as shit expect many interesting and straight-up dope releases from these gentlemen. That much is a given. Unless they decide to call it quits on music and move into holistic therapy as Sex Tags Inner Sanctum. 

Words by Mark Maxwell - http://thenewbackwards.tumblr.com/

All your favourite Zwergs are back in town (well Glasgow anyway) as we’ve just had a fresh box of electronic fun from our friends in Germany, MFB.  MicroZwerg, NanoZwerg, SchlagZwerg - all the Zwergs!!!  Some of them are around 10% cheaper now due to better exchange rates.

Famously diminutive with home spun build quality and design,  and even more famously, stupidly large sounding (especially when taking into account aforementioned size), you need to get at least one of these into your studio just so people can say “what’s that daft wee looking thing there” and then you can blow their trousers off with a few notes from one.

We like all the MFB stuff but here’s a couple of belters if you can’t afford to buy every one of them:

MFB 522 BOOM! It’s all about the low end on this superb 808 inspired box.  No wait - it’s all about that Clap.  No, the crack of the Snare. No, it’s the piercing hish-hish of the Hi Hats. Aaargh - it’s all great.  And it’s got MIDI too!

MFB 503 We’ve got a LOT of love for the ultra minimal design of this 909 inspired unit. There’s not much too it except for the thunder and roar of the drum hits, it’s the shizz.

NanoZwerg A seriously compact little unit (smaller than many desktop calculators (VERY Kraftwerk) but with MIDI and CV/Gate. It’s superb for basslines and general analogue squelches.  It’s also VERY affordable for what you get.

Microzwerg Not many of these left now. Tiny little semi-modular synth so you can experiment a little with patching control signals to see where it gets you without splashing out a lot of cash or spending three hours working with a bigger modular system and still only getting a slightly weedy buzzing noise as we often do!

SchlagZwerg We’ve always meant to look up the meaning of Schlag in German just to see if it’s as funny as it is in English but haven’t got round to it yet (think it’s something to do with whipped cream in Holland as my failing memory reminds me - Jason).  This unit is more for the serious patchers and tweakers. It’s a 16 step drum sequencer with some more advanced patching and routing capabilities for your Drum Sounds and the ability to sequence different sound parameters too (so you can have more movement in your sounds as they play).  Takes a bit more getting used to but is the sort of instrument that will surprise and inspire for years to come.