Podcasts about mad mike banks

被称为"狂人迈克"的美国Techno艺术家Mad Mike，本名Michael Anthony Banks生于1961年。堪称UR 三人中最具争议性、作风最凌厉也最全情投入的公认领袖。我们无意削弱Mills和Hood的功劳，但Banks才是Underground Resistance的核心人物。身为新派底特律Techno的中坚力量，“疯子”Mike Banks 是这座汽车之城中不可磨灭的力量，自始至终领导着UR的组织。在他刚 起步时，Mike从事过各种工作，包括建筑与机械相关的工作，也曾做过驱逐租客的工作。由于他直言不讳的态度，他的作品常常包含政治元素与直接的信息。Banks也因其严格的道德标准而闻名，他拒绝在公众场合被拍照，经常遮住脸部或模糊自己出现在照片中的样子。UR的核心原则是强调音乐本身而非艺术家，因此Mike在曾经很长的一段时间里都不向媒体公开自己的面容。“与音乐相比，我微不足道。我的脸会怎么可能比音乐更重要呢？” —— Mike Banks他的音乐创作深受Marshal Jefferson、Derrick May、Gary Numan、Juan Atkins和Kraftwerk的影响，同时他也始终推崇Stanley Clarke、Chick Corea与Joe Zawinul的音乐成就。在涉足电子乐之前，Banks曾是专业录音室乐手，并在一支名为Cherubim的乐队中演奏。该乐队曾长期随Parliament Funkadelic巡演，使Banks多次获得同台即兴演出的机会。他还与George Clinton、Michael Payne、Amp Fiddler等音乐人频繁合作，其中多以吉他手身份参与。"那时我开始参与一些重要唱片录制，这感觉很棒。我在食堂日常闲聊时结识了音乐导师George Clinton，他亲自指导我如何在混音中通过空间定位来区分低音鼓和底鼓..."Banks回忆道。Mike还曾是Members Of The House项目的成员，八十年代中期与该团队共同创作了一系列12英寸黑胶唱片。尽管与底特律众多传奇音乐人的合作令人振奋，但到八十年代末期，他渴望寻找更具突破性、更复杂的艺术环境来实现自我蜕变。在目睹音乐产业屡见不鲜的商业化弊端后，Banks与Mills毅然决定另辟蹊径，开创更纯粹的艺术创作之路。“我们当时的一个乐队和他们（Motown）签了约，天哪，那真是一场噩梦。我们那时是非常优秀的录音室乐手，在United Sounds录音室工作。而他们想让我们组一个叫‘For Girls Only'的乐队。那是流行商业音乐，我们一点也不喜欢。那时候Prince正火，他们要我们穿像Prince那样的衣服，打扮成Prince的样子，但我们完全不想那样。我们只是录音室乐手，不喜欢那一套。后来我们飞到纽约看了合同，发现根本不行。说实话，我们看到了太多音乐产业的黑暗面，以及它有多虚假。我们参与过无数唱片的录制，我都说不清有多少，但我从来没有在封面上得到署名，因为他们总是把那些‘好看的人'放在封面上。大多数主流音乐圈的事情，都是谎言。”——Mike Banks"我亲眼见过最肮脏的勾当。他们找来三位教堂唱诗班的黑人女歌手来录主唱的试唱版本，说：‘嘿，你能录个示范主唱吗？'然后那个女人就唱了主唱部分，拿个五十美元之类的。转头找个每天做500个仰卧起坐的辣妹进棚，让她模仿之前录好的唱段。要是唱不准，就直接用采样器修音高。结果真正的歌手只拿到50块，而封面女郎却成了专辑主角。我从这些行业人渣身上认识到整个系统都是欺诈——那女孩根本没唱歌，真正开口的人却被埋没。这种认知让我清醒，更让人失望。当时Jeff也对广播里的虚假内容感到幻灭，我们两个就像做着明星梦的孩子，也曾幻想周游世界巡演，但目睹这一切后，我终于认清这彻头彻尾的骗局。"正是此时，他结识了Mills，两人开始合作创作《Share This House》，这首作品后来被收录于使底特律techno名扬海外的传奇合辑《Techno! (The New Dance Sound of Detroit)》中。随着那个成功十年的落幕，这对搭档开创了属于自己的运动——传奇的Underground Resistance。"我和Jeff创建Underground Resistance的初衷，是为了描绘一幅不同的图景——一幅关于梦想、希望与未来主义的画卷。"——Mike BanksBanks与他的伙伴Jeff Mills和Robert Hood共同奠定了UR早期作品的基调。当一切准备就绪后，他们展开了欧洲巡演：最初在伦敦的演出正值当地媒体影响力鼎盛时期，这种氛围让他们并不自在；而柏林则被证明是传播"UR病毒"的理想沃土。" UR来到柏林后的经历，后来成为了柏林这座城市自我构建的框架——这种范式可供任何追求独立创作的人们借鉴，让他们用来建立自己的音乐场景。"——Cornelius Harris在共同创作三年后，三人组中的另外两位成员离开了厂牌，将完整控制权移交给了Mad Mike。同年（1992年），Banks还与Christa Robinson在底特律共同创立了Submerge Distribution唱片发行公司。"请相信，我通过现场演出和唱片销售获得的每一分钱，都花在了维持这栋大楼运营的账单中。"——Mike Banks Banks 为 90 年代底特律 Techno 的复兴作出了重要贡献，他以一种自早期 Hip-Hop 之后少见的方式，重新凝聚了美国城市舞曲音乐。他的音乐风格逐渐吸收了 Acid 与 Industrial 的元素，节奏更强劲、更富推动力。随着时间的推移，他的音乐变得更加切分、且多层次，其中一些作品让人联想到 Cybotron 早期的 Electro 的曲子。虽然多张标志性发行都与他有关，如 《Death Star》、《Happy Trax》、《Windchime》、《The Final Frontier》、《The Illuminator》 以及 《Attack Of The Sonic Samurai》，但在 UR 的最初三位创始人中，Banks 是作曲数量最少的一位。原因在于，他必须更多地专注于组织的整体方向与对社区的支持。从那时起直到今天，他最重要的目标始终是启发与扶持年轻人，而非追求成为世界知名的 DJ。他一直相信那句看似陈旧却永远正确的信念：“未来属于年轻一代。”Banks 也将一生奉献于反抗商业化音乐，并致力于将高科技音乐与高科技梦想带入低科技的地区。“我的使命是延续 Mojo 的工作。Mojo 拯救了底特律。”——Mike Banks20世纪90年代，Underground Resistance扶持了许多崭露头角的底特律音乐人，为本土音乐人开辟了机遇，其中就包括Drexciya、DJ Rolando和Kenny Larkin。"我很自豪能将Drexciya介绍给世界"——Mike Banks鲜为人知的是，Banks还在底特律开始执教一支高中棒球队。他在那里遇到了许多有前途的年轻人，并竭尽全力让他们远离街头帮派的纷扰。这也为他从年轻一代中发掘人才提供了绝佳机会，向他们展示'UR之光'，其目的是让年轻人看到，借助音乐的力量，他们能走多远。"我向很多年轻人介绍这些东西，但大多时候，我会'失去'他们——他们去了欧洲、日本，去当了DJ，被预订演出的经纪人挖走。但这是值得的，因为他们由此开启了音乐生涯。"——Mike Banks到90年代末，UR和Banks经历了许多风雨。正如我之前提到的，底特律techno界对商业音乐产业的不屑一顾事实上是有道理的。最明显的例子之一就是，某个全球性的大唱片公司竟认为他们有权欺压、剥削独立厂牌（UR）来牟利。千禧年之交，UR与Sony Music爆发冲突，techno界一段最精彩的幕后故事就此上演：UR-049 EP《The Knights Of The Jaguar》由Underground Resistance于1999年3月发行，制作人是底特律本土音乐人The Aztec Mystic（即DJ Rolando）。这张专辑一经推出便迅速成为全球热门单曲，其连绵层叠的合成器音效和攀爬高峰式的弦乐，赋予了这首曲子令人起鸡皮疙瘩的感染力。Sony立刻嗅到了它的商业潜力，想要发行这首《Jaguar》，并提出签约买下版权。但Banks拒绝了，不允许他们获取授权。作为回应，Sony决定不经许可擅自发行，推出了一首由Don Jaguar制作的"混音翻版"——这简直是按照每个音符在抄袭，引发了全球地下techno社区的强烈愤慨。此时，UR呼吁乐迷"用电话、邮件和传真淹没Sony办公室"，被召回UR厂牌的核心成员重返战场，并迅速推出了《Revenge Of The Jaguar》— 其中收录了Jeff Mills、Mad Mike和Octave One的混音版本，甚至"The Innovator"Derrick May也以Mayday为化名，献上了他自己版本的《Jaguar》。在巨大的抗议声浪和严重后果面前，Sony不得不召回该曲。就这样，UR将Sony Music踢出局，赢得了胜利。而在2000年，在首届底特律电子音乐节上，《Jaguar》的旋律响彻全场。除了创作新音乐和扶持新兴艺术家，Banks更将Underground Resistance作为人道主义平台，通过音乐揭示社会问题。在发行UR-088 《Dangerous》时，他旨在唤起公众对密歇根州弗林特水危机等严峻问题的关注。"所有人都想为此做些什么，而我认为应该让国际社会更关注此事。最令人心痛的是，解决方案就印在唱片标签上——那个网站记载着一位为第三世界国家发明净水装置的发明家。当他带着设备前往联合国时，竟被告知'清洁水资源不在业务范围内'。这位试图消除全球三分之二水传播疾病的好人，最终败给了官僚体制，"Banks在2016年接受《Sparse Magazine》采访时说道。除了2024年与Mark Flash在伦敦、蒂尔堡和巴黎的现场演出外，Mike Banks最近一次在国际上亮相，是在传奇电子乐器制造公司Roland制作的迷你纪录片《Somewhere in Detroit》中。该片除了采访了Underground Resistance和Submerge的联合创始人"Mad" Mike Banks、还包括他的妹妹Bridgette Banks（她最初创办了流动唱片店"Somewhere in Detroit"）、Wajeed、DJ Crystal Mioner、Kamau Baaqi、Saylem Celeste以及其他音乐制作人。他的角色对全球地下场景产生了重大影响，自此，这个场景已截然不同。Banks是底特律历史上一个标志性人物，是众多音乐家的庇护者，也是反叛精神的传奇象征。毫无疑问，没有"Mad" Mike Banks的辛勤奉献，底特律techno和地下电子音乐绝不会是今天的样子。在我看来，Mike Banks是一位真正的人道主义"地下帮派领袖"——当然，这是最高尚的含义。"这很辛苦，但我很感激。知道现在还有人穿着那些疯狂的UR T恤，这感觉很好。"——Mike Banks

For the tenth episode of There Is No Planet Earth Stories, I'm joined by guest Alan Oldham representing stories from Detroit.ALAN OLDHAM has been called “Detroit's Renaissance Man,” equally as known for his art as for his music under the pseudonym DJ T-1000.  The Detroit-born polymath, now living and working in Berlin, began his dual careers in the late 80s. First as the host of the “Fast Forward Program” on WDET FM 101.9, Detroit's first-ever radio show devoted exclusively to electronic music, and as a young indie comic artist, writing and drawing his own original creation, “Johnny Gambit” (predating the Marvel character). Oldham was later tapped by his childhood friend, Derrick May, to illustrate the label art for the now-classic records “Nude Photo” and “Beyond The Dance” on his fledgling Transmat label, and Detroit Techno history was made. Oldham was later hired by another childhood friend, Jeff Mills, to do freelance PR for the nascent Underground Resistance collective, writing press releases for the label. When Mills departed for a solo career, UR partner “Mad” Mike Banks tapped AO to replace him as DJ for their Australian Tour of 1992. The codename DJ T-1000 was adopted, and history was made once again.  Jumpstart to infamy.Since then, as an international DJ, Oldham has spun all over the planet, as far afield as Tokyo, Manila, The Phillipines, and Shanghai. When he's not behind the decks at home clubs Tresor Berlin and RSO, on the road to places like Batumi, Georgia or Trapani, Italy, or in the studio making music for labels like RSPX/Rekids, BPitch Berlin, Suspected Music, Third Ear, Elypsia Records, or his own Pure Sonik Records label, he is making new paintings and organizing art openings showcasing his iconic works. Oldham has put on art happenings in Amsterdam, Paris, Barcelona, Berlin, Vienna, and Detroit, as well as his iconic techno artworks being on view in Paris, London and Dusseldorf, as part of its traveling “Electronic: From Kraftwerk to the Chemical Brothers” exhibit. The multi-talented Oldham has also made his artistic debut in Kobe, Japan in 2022 with the exhibit “Massive Dynamic” at the Nick Jerky Art Cafe. In 2024, Oldham was also honored by the Mayor and Detroit City Council with a “Spirit of Detroit” Award for his musical and artistic contributions to his hometown. And back in Berlin, as part of Love Parade founder Dr. Motte's Rave The Planet team, Oldham helped Berlin Techno to achieve UNESCO Intangible Cultural Heritage status. Oldham's long-awaited EP as DJ T-1000 for Rekids sub-label RSPX is out now, as well as his new “Ask Me No Questions And I'll Tell You No Lies” EP on Pure Sonik Records, currently riding high on several Spotify techno charts including Mary Anne Hobbs' on BBC6. New releases to come!Support the show

ALAN OLDHAM has been called “Detroit's Renaissance Man,” equally as known for his art as for his music under the pseudonym DJ T-1000. The Detroit-born polymath, now living and working in Berlin, began his dual careers in the late 80s. First as the host of the “Fast Forward Program” on WDET FM 101.9, Detroit's first-ever radio show devoted exclusively to electronic music, and as a young indie comic artist, writing and drawing his own original creation, “Johnny Gambit” (predating the Marvel character). Oldham was later tapped by his childhood friend, Derrick May, to illustrate the label art for the record, “Nude Photo,” on the fledgling Transmat label, and Detroit Techno history was made. Oldham was later hired by another childhood friend, Jeff Mills, to do PR for the nascent Underground Resistance collective, writing press releases for the label. When Mills departed for a solo career, partner “Mad” Mike Banks tapped AO to replace him as DJ for their Australian Tour of 1992, and the codename DJ T-1000 was adopted. Jumpstart to infamy. Since then, as an international DJ, Oldham has spun all over the planet, as far afield as Manila, The Phillipines, and Shanghai, China. When he's not behind the decks at home clubs Tresor Berlin and Suicide Circus (Berlin), on the road or in the studio making music for BPitch Control, Suspected Music, Third Ear, Elypsia Records, or his own Pure Sonik Records label, he is making new paintings and organizing art openings showcasing his iconic works. Oldham has put on art happenings in Amsterdam, Paris, Berlin, Vienna, and Detroit, as well as his works being currently on view at the Design Museum in London, as part of its “Electronic: From Kraftwerk to the Chemical Brothers” exhibit. On the graphic novel side, he has also worked on the Afrofuturist classic “The Book of Drexciya, Vol 1.” Oldham is keeping busy during the current pandemic, drawing and painting, doing commission work, online teaching for RAMP Academy, making new music and remixing with MASCHINE MK3 and ABLETON, and generally moving forward in one of the world's most creative cities, Berlin. Tracklist via -Spotify: http://bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/ Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer Keep up with SLAM: fanlink.to/Slam Keep up with Soma Records: fanlink.to/SomaRecords For syndication or radio queries: domm@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

Dedicamos este nuevo episodio de Mala Hierba a Underground Resistance, colectivo de techno fundado en 1989 por Jeff Mills y Mad Mike Banks en Detroit. Junto a Natalia Baró, fan del sello y amiga de la casa, nos sumergimos en un futuro postapocalípitco, trasladándonos a la pista de baile de una ciudad en ruinas en la que solo quedan cyborgs y la guerrilla urbana se hace a bordo de una Roland 909. A través de temas precursores del acid como Sonic Destroyer de X101, temazos machacasuelas como The Seawolf o experimentos space-techno como Hi-Tech Jazz de Galaxy 2 Galaxy, exploramos la dimensión musical, pero también sociopolítica, de un sello que revindica posiciones anticomerciales y antirracistas a través del baile y el sonido. TRACKLIST:1. Nocturbolous – Suburban Knight2. Transition – Underground Resistance3. Sonic Destroyer – X1014. The Seawolf – Underground Resistance5. Amazon – World 2 World6. The Final Frontier – Underground Reistance7. Hi-tech Jazz – Galaxy 2 Galaxy8. Berlin (Mills Mix) – Jeff Mills

De'Sean Jones on the JUMP Music Podcast SE2-EP2 @deseanjones De'Sean Jones is a Detroit based saxophonist & composer, billboard charting recording artist and 2x Grammy nominated arranger. Over the past 20 years De'Sean has toured the world recording or performing with music Icons like Stevie Wonder, Snoop Dogg Faith Evans, along with a host of Detroit Legends; Marcus Belgrave, The Clark Sisters, Kierra Sheard and techno pioneer Mad Mike Banks of Underground Resistance. As a bandleader & producer Jones curates an eclectic approach that is widely viewed as progressive and undeniably rooted in the rich history of black culture. De'Sean actively uses his music to push the boundaries of social consciousness in ways that are authentic, emotionally dynamic and intellectually stimulating. All musical projects from De'Sean Jones can be accessed through his record label KNMDK Records. @deseanjones #jumpmusic #musiceducation #musicpodcast #musicindustry #musicindustrytips #musicindustrynews #musicindustryprofessional #musicinterview #musicianlife #musicianstoday #brilliantmusicians #musicaddict #musicartist #musicbusiness #musicmaker

As one of the founding members of the legendary Detroit techno crew Underground Resistance – alongside Mad Mike Banks and Jeff Mills – Robert Hood’s legacy in the electronic music world is almost peerless. Pioneering the minimal techno sound with his 1994 album Minimal Nation, it was his Paradise LP as Floorplan that gave minimalism new, hot-blooded life. In his 2014 Red Bull Music Academy lecture, Hood passionately discussed his work with UR, the importance of hi-hats, and much more.

Tutto tranne il calcio 41 vi porta come il lungo ponte milanese verso le lande del divertimento ad altissimo livello e a bassissimo, se non nullo, costo. Si inizia da una versione estremamente rara della Butterfly, con cui la Scala apre la sua stagione, per poi passare ai mosaici interattivi di Little Briar Rose e chiudere con l'omnibus audio dedicato a David Foster Wallace e alla sua vita. Tutto qui, tutto con Il Pregianza, Simone e Superpap e soprattutto con il Rischiaizzi, il Rischiatutto Musicale di Marco Caizzi, per l'occasione dedicato al Jupiter Jazz.DI COSA ABBIAMO PARLATOMadame Butterfly di David Olcott - la Scala apre con l'opera di Puccini. Noi ve la facciamo vedere gratis (Gratis)https://www.youtube.com/watch?v=JWcBuLwpDuQLittle Briar Rose - Un avventura di vetro. Ma solida. (6.79 €)http://store.steampowered.com/app/555290/David Foster Wallace Audio Projet - le gesta infinite di David Foster Wallce, in audio e totalmente gratuite. http://www.dfwaudioproject.org/COSA ABBIAMO ASCOLTATO (A Cura di Marco Caizzi)Anzi no la JUPITER JAZZ playlist ! Mi spiego meglio, negli anni '90 la Underground Resistance rivoluzionò la techno dandogli quel piglio più militante/futuristico che credo tu ricorderai, ma veniva cmq dalla cultura black americana e quindi si dal soul dal funk dal jazz anche se preso a tranvate da kraftwerk ed electro. E chi ci andò sotto subito? I compositori di videogame music giapponese che proprio al pezzo JUPITER JAZZ di Mad Mike Banks (aka Galaxy 2 Galaxy e fondatore di Underground Resistance insieme a Jeff Mills e Robert Hood) si sono ispirati/hanno copiato per tante delle loro colonne sonore. Quindi la playlisti di oggi prevederà:L'originale Jupiter Jazz di Mad Mike Banks sotto il nome Underground Resistance uscita nel 1992: https://www.youtube.com/watch?v=8aDE6rVxELELa musica dello stage two dello sparatutto a scorrimento verticale BATTLE GAREGGA (antesignano dei bullet hell e shmup jappo della madonna) composta da Manabu Namiki su ispirazione dichiarata e palese di Jupiter Jazz resa più veloce e sparatuttosa: https://youtu.be/4kcTXUwViWM (1996)La musica dello stage di Michelle in Tekken 2 che rende Jupiter Jazz più happy jappofesta sognante, con dei suoni scrausi quasi vapor ahah: https://www.youtube.com/watch?v=guojEvsWsbo

Chubby! on Facebook: www.facebook.com/chubbyrecords Scott Ferguson on Facebook: www.facebook.com/ScottFergusonFerrispark http://sfergusonmusic.com @ferrispark In 1994 Scott Ferguson was introduced to the House & Techno scene in Detroit, Michigan. By the next year Ferguson began Deejaying and consuming a wide range of vinyl records which included, Detroit & Chicago House, Detroit Techno, Disco, & Funk. On the recommendation of UR founder ‘Mad’ Mike Banks, Ferguson purchased the Ensoniq ASR-10 in 1998. The ASR workstation would become the most intregal part of his sample heavy, filtered down sound. Ferguson released his first 12″ record on his own imprint in 2001 and since has released records on Kenny Dixon Jr.’s ‘Mahogani Music’, as well as Reggie Doke’s ‘Psychostatia Recordings’. In 2012 Ferguson started two new projects, the ‘Black Boxx’ project using only 3 black hardware boxes to compose simple, yet effective, loop based machine music and JBSF with fellow DJ/Producer Jitterbug. Scott’s productions have been played and charted by legendary Deejays including Derrick May, Larry Heard, Theo Parrish, Moodymann, Marcellus Pittman, Rick Wade, and Mike Huckaby. Currently Ferrispark Records is still manufacturing and selling 12″ vinyl records and Ferguson is still travelling the world playing them. Scott's mix is influenced by Detroit radio stations like WJLB that he used to listen to on the weekends during his early twenties.

Our next episode is by an artist whose work is of huge significance to the history and progression of the Detroit techno sound; DJ 3000. Given the name '3000' by Mad Mike Banks and a member of the Undergeround Resistance/Submerge crew, he formed the now seminal Motech imprint in 2001. The label's back catalogue reads like a who's who of motor city techno, and his sounds merge the electronic rhythms reminiscent of his city with ethnic flavours from his parents' home country of Albania and beyond. At Tribal Pulse we absolutely love this coming together of influences, and we hope you enjoy the mix. Don't forget you can catch 2 more big supporters of Detroit sounds, Jean Pierre Enfant and Boom Merchant, at our next label night at Saint Judes in Glasgow on 7th February, and remember our first adventure on wax of 2015 isn't far away. Stay tuned www.facebook.com/dj3000usa www.soundcloud.com/dj3000motech www.facebook.com/TribalPulseLabel www.soundcloud.com/tribal-pulse

On prend les 2 même lascars et on recommence. Second EP de nos aventures électroniques, rythmées ce mois-ci par les voyages dans l’espace-temps… Tout un programme.Habillage sonore Aphex Twin, album « Selected Ambient Works 85-92 », sorti chez R&S Records en 1992: 1er tapis: « XTal » 2ème tapis: « We Are The Music Makers » 3ème tapis: « Heliosphan » TRACKLIST Jean Michel Jarre – Chronologie Part.6 (Redscape rewind part.5 edit) LP: Chronologie – Label/Année: Disques Dreyfus / 1993 Kraftwerk – Spacelab LP: The Man Machine – Label/Année: Kling Klang / 1978 Clancy – Overdue EP: Overdue EP – Label/Année: Dirt Crew Records / 2014 Borealis – Streamsnare LP: Glittervoice – Label/Année: Origami Sound / 2013 BeK – Unfinished EP: Cheikh – Label/Année: Kaometry Records / 2014 Xeroderman – Folia Synesthesia EP: Semaphore – Label/Année: Kaometry Records / 2014 Laurent Garnier – Water Planet EP: Planet House EP – Label/Année: FNAC Dance Division / 1993 Peter Van Hoesen – Challenger EP: Life Performance EP – Label/Année: Tresor / 2013 X-102 – Daphnis (Keeler’s Gap) LP: Rediscovers The Rings Of Saturn – Label/Année: Tresor / 2008 Son Lux – Easy (Arandel Remix) LP: Lanterns – Label/Année: Joyful Noise Recordings / 2013 – remix par Arandel, non licencié Air – Kelly Watch The Stars LP: Moon Safari – Label/Année: Source / 1998 Boards Of Canada – Sick Time LP: Tomorrow’s Harvest – Label/Année: Warp Records / 2013 NOTES DE L'EMISSION Borealis, également connu sous le nom de Jess Somfay, a sorti en 2009 un long format chez Archipel Records, « A Catch In A Voice ». Aldevar avait en effet, sans doute, fumé la moquette puisque Peter Van Hoesen a sorti son premier EP en 2006 et non en 1993. Il n’est donc pas du tout un papy. Par contre, Richie Hawtin a vraiment sorti sur son label Plus8 Records un morceau de Deadmau5. Lui a sans doute fumé la moquette, et a mal vieilli. X-102, composé de Jeff Mills et « Mad » Mike Banks, ont sorti en 1992 la 1ère version de leur vision de l’écosystème de Saturne, « Discovers The Rings Of Saturn », publié également chez Tresor. La version de 2008 est rallongé de 6 tracks supplémentaires. « Moon Safari » est bien sorti en 1998, mais certainement pas chez Record Makers, crée en 2000 par… Air. Il fallait plutôt comprendre, sorti en 1998 chez Source, autre label français de cette époque.

K1971 PODCAST - DJ T-1000 aka Alan Oldham Alan Oldham has been called "Detroit Techno's Renaissance Man" (Musik, UK).A lifelong cartoonist and graphic designer, a young Oldham published his own comic book "Johnny Gambit" in 1987 to local notoriety. Hired that same year by his childhood friend Derrick May to illustrate several memorable pieces for the new Transmat label, this led to Oldham's first involvement in the fledgling techno scene. Besides his art and writing, 1987 also saw Oldham's radio debut on Detroit's WDET-FM with the long-running 'Fast Forward' program. Originally meant to be a free-form rock, jazz and fusion show, Oldham's passion for both local and international electronic music gradually took centerstage until it finally became the only radio program in Detroit to feature techno and house music exclusively. The early cassette, reel-to reel and four-track material of such (now) well-known international artists as Underground Resistance, Carl Craig, Kenny Larkin, Octave One, Anthony Shakir, and Richie Hawtin made its on-air debut here, as well as being the first and only show to break international acts like Moby, Joey Beltram, 808 State, LFO, Front 242, Nitzer Ebb, and others in Detroit. In 1988, Oldham graduated from Wayne State University with a degree in Radio-TV-Film. In 1990, having finally produced his own EP at a friend's studio, Oldham sold the project to a small Dutch label whose fax number he found in the record bins of Recordtime. His pseudonym for the four-track project was Signal to Noise Ratio released by the small Dutch label, DJAX Records. After the release of the EP, label boss Saskia "Miss DJAX" Slegers hired Oldham to create the graphic identity of DJAX-UP-BEATS. Ten years on, DJAX dominates the Dutch techno scene and Oldham's trademark visual style still defines the label. In 1992, Jeff Mills left Underground Resistance to become a solo act. "Mad" Mike Banks, needing an immediate replacement DJ for a month-long Austrailian live tour, tapped Oldham for the job. Without rehearsals, Oldham took the leap of faith that changed his life. Jump start into infamy. Leaving his increasingly-thankless WDET airshift behind forever and adopting the onstage personal of DJ T-1000 (taken from the shape-shifting liquid metal cyborg in "T2"), Oldham began rocking decks for UR and never looked back, setting the stage for subsequent UR "assault DJs"Rolando and James Pennington. Upon returning from UR's triumphant Austrailian tour, Banks again tapped Oldham's many talents, this time asking him to create a label to be distributed by a new company that Banks was organizing, a distributorship that would within a few years come to dominate the Detroit landscape: Submerge. Oldham agreed and his second and most successful attempt at a label, (the first was the disasterous Technika records 1989) would be called Generator. It was also during this time that Oldham once again became prolific, artwise. A fully-painted "Danger Girl" comic strip in Muzik UK and the album cover for Astralwerks "Beyond The Third Wave" (ASW6170) compilation marked 1995, as well as his debut retrospective at Detroit's Cement Space Gallery and a new "Miss DJAX" comic. With his solo career in full swing, however, it was time for his music to follow suit. Oldham established the Pure Sonik label in 1996 with the double-barreled, double-vinyl statement of intent "Pure Sonik Manifesto" (PURE1). This move garnered his first cover story in Magic Feet (UK), and a music video that aired on MTV UK's "Party Zone". Three years later, the label continues to feature Oldham's production talents as DJ T-1000, the best moments of which can be found on the CD/2x12", "A Pure Sonik Evening" (PURE10) . In 1998, Oldham began an alliance with legendary German techno label, Tresor when their label manager vacationing in Detroit, was blown away be his demo tracks. Signing him on the spot, the first product of that transatlantic union was "Jetset Lovelife EP" (Tresor87) and his debut performance at the Tresor club in Berlin. In between a solid year's worth of DJ dates both in the US and abroad, the release of his first-ever mix CD "Live Sabotage" (BML/X-Sight 6386), and many personal changes at home, Oldham delivered his debut album "Progress" (Tresor128). It was released in Europe in October 1999 and a world tour quickly launched, capped by an epic, four-and-a-half hour set at the Tresor Club, broadcast live over the internet. "Progress" was bracketed by the dual release of "Codes And Structures Vol 1" (PURE11) and "Vol 2" (PURE12) on his own Pure Sonik label. As the new millenium began, Oldham produced a second mix CD "The Last DJ On Earth" (PURE14) , launched 2 websites (both for label and his art), participated in DEMF 2003, released of another album "Neutra" (PURE17CD), and a return to artwork. After over a decade in the music business, DJ T-1000's job of World Sonik Domination is never done. Oldham in 2006 started his first-ever, low-tempo/experimental, CD-only label, "xfive." and presented its first release, "The Art of Transformation" (X5001CD) inspired by his art gallery openings in France, Los Angeles, Chicago, and Germany. Another "Art of Transformation" CD released in January 2008. In 2009, Oldham released an all new Johnny Gambit comic with accompanying original soundtrack with 2nd installment and soundtrack finished in March 2013, awaiting release.2012 saw the rise of the moniker, Detroitrocketscience (first appeared on xfive), and debut of label of same name with the release of a series of 10" records in 2012/2013.