ARTIST SPOTLIGHT ARCHIVES

Artist Spotlight Archives

Vinyl Life

We now tune into NYC's fresh four-some Vinyl Life, comprised of Butcha, Phaze Future, DJ Ohzee, and Richie Roxx. Interview with Butcha (A.K.A. Phil Moffa), photos courtesy of sullivansnaps.com.

How did you all meet, and begin making music together?
Me and Ohzee have been friends since age 12 and DJ partners since 1997. Phaze, Rich, and I went to college together at the Conservatory of Music at SUNY Purchase. We have BFA’s in Studio Composition and Production. I am actually on board there as a faculty member for five years now teaching Production Master Classes.

How long have you been making music, individually and as Vinyl Life?
As kids, me and Ohzee were into rhyming and always wanted to DJ. We both finally got decks at the age of 18 after being inspired by house music DJ’s in NYC. Richie Roxx has been playing keys and every other instrument in bands since he was 13. Phaze has rocked the mic since his youth, notorious for winning battles in his hometown of Harlem. As a team, Ohzee and The Butcha had our first two releases in 2003 after being into production for about four years. We brought Richie Roxx in to play keys on our next three remixes. We added Phaze as vocalist in 2005 and our first Vinyl Life project “Flashlight” was released on Ultra’s You Records. There are also many projects connected to Vinyl Life – Phaze is half of duo Smash Mechanics where I am mix engineer and Richie Roxx is also Nite Club and his debut album is coming out in Japan this year.

Who are some of the bands that have influenced you?
Our tastes are very deep and varied but there is much common ground. We all love old school house, techno, disco, and rap. To start naming all the DJ’s and artists in there would take a long time. Kraftwerk, Daft Punk, Afrika Bambaataa, and Moroder are some of the electronic legends we often pay tribute to. Dub mixers like King Tubby and Scientist have influenced the way we mixdown on the console. Our favorite hero is the Hardest Working Man in Show Business: Godfather James Brown. Pure legend.

Tell us more about your DJing background, and how that led to you making music?
Our very first brushes with DJing as kids were alongside legendary DJ Stockbizzy. He was the first person to show us anything. Ohzee and I have been hanging out in clubs since we were 17 and that led to us getting our own turntables a year later. I also had a brief stint on college radio where my name “The Butcha” was created. We felt that making tracks was the next step and I began studying music in college. That’s where I met Rich and Phaze who had already been into music their whole lives. Since then we’ve played at Sound Factory, Crobar, Pacha, Exit and all the major clubs that have come and gone in NYC over the years. We’ve played at every hole in the wall too.

Describe your music for us.
“These beats that break that bass that make you shake right out your soul”

Vinyl Life Live

Tell us more about the process you use to start assembling or creating a track, and the role each member plays?
There are many possibilities but it usually goes like this: Butcha starts by designing drum sounds and then sequencing a beat and bassline. Then, in no particular order, Roxx will lay down the keys, Phaze writes the vocals, and Ohzee makes loops. It’s then a collaboration of arrangement and each song has its own way of speaking to us. We like to let what comes naturally dictate the process – that’s when the truest music comes out. One of our newer ways of writing is done in our Brooklyn rehearsal space. Through jamming and recording we come up with ideas. It’s very Anthem. This is how we came up with our newest track “Etch a Sketch”.

What equipment do you use?
In the studio, our drum machine museum includes: 909, 808, SP1200, Linn Drum and Jomox MBase. The brain of sequences and samples is the MPC 1000. Synthesizers are mostly analog and include the Future Retro Revolution, Studio Electronics SE1 and ATC, Roland Juno 106, MKS 50, and JP8000, Access Virus B, Sequential Circuits Sixtrak and Novation KS5. We use lots of analog filters like the Moog Lowpass, Sherman Filterbank II and Electro Harmonix Q-Tron. We’re hardware addicts. All of these instruments are routed into a 16 channel board. I press play on the Revolution and it starts the clocks on the other pieces. The board is then played in a dub style while I work the levels, mutes, effects sends and parameters on the synths. This is recorded as a stereo pair into Pro Tools for editing. We no longer record and mixdown to multi-track. We prefer to capture a performance.
On stage my setup is streamlined to the Revolution, MPC, Pioneer EFX1000 and the mixing board with everyone’s input. Ohzee uses a Pioneer CDJ and EFX setup, Richie Roxx plays the JP8000 and KS5, and Phaze is on the mic run thru a Korg Kaoss Pad.

Tell us more about what role our products play in your music? And what you like about the Revolution.
The Revolution is the heartbeat of our studio. It sends midi clock and din sync to the 808, 909, and MPC. What I like about the Revolution first is its sound. Beautiful, warm, and dirty analog bass. With the filter down it is the perfect deep bass module and with the filter opening it is just like the 303 and beyond. We usually use the square wave setting and the overdrive engaged. The circular sequencer and graphic layout is inspiring. The large pattern memory and remix function are key features too.

Vinyl Life Live

What made you choose the Revolution over just using the TB-303?
When I first read about the Revolution in a magazine, I was thinking about doing a live PA and it seemed like the perfect tool for the job. It sends both din sync and midi. Sequencing on the Revolution is a lot easier. Considering that it is brand new, it will last me a lot longer than the 303. The price is also better.

How frequently are you performing live? And any places you play on a regular basis, even DJing?
We’re playing live as a group about twice a month and DJ weekly. It’s always changing. Check our website and myspace for info on shows.

What musical direction do you see the band going in the next couple years?
I hope to see Vinyl Life grow creatively through production techniques and musical knowledge. I have been studying piano and percussion and Rich has been learning more studio chops. It’s great to be able to communicate where there were once barriers. I think that many musicians, including ourselves, begin with a strong influence of their heroes whether it is conscious or not. As you grow, you shed some of your more obvious connections to your idols and develope your own sound. I think that as Vinyl Life finds our voice, we will create some very unique music and a killer live show. I believe our best work is way ahead of us.

Any words of wisdom for upcoming musicians and DJ's?
Evolve. Dedication to growing means immersion in your art. Take time to listen to music of the masters and the modern stuff. Experiment in the studio. Nothing will give you a unique sound more than doing things that take time and at first seem trivial. Get buried under a pile of cables and you will hit the surface with something new. Jam and record it. When you add your most experimental work to your refined and polished, that’s when the magic happens. As far as the business and marketing side of things goes, we’re just beginning to focus on that. I think it’s all about making contacts, identifying your ideal fan base, and getting your music, videos, and live show out there for the world to experience.

Discography:
Sound Is In Your System - Vinyl Life [Vinyl Life Music] 2007
Music Is The Answer - Colonel Abrams (Vinyl Life Remix and Dub) [...Records] 2007
Bridge And Tunnel - The New Yorker (Vinyl Life Remix) [COMPLEX COLLECTIVE] August 2007
Still Vibration - Vinyl Life [Rexhouse Music] January 2007
Rhythm Rock You - Vinyl Life [Rexhouse Music] July 2006
Good Life - Vinyl Life [Rexhouse Music] March 2006
My House Is Your House – Chris The Greek (Vinyl Life Analog Remix) [DJG Productions] January 2006
First Time – Offer Nissim featuring Maya (DJ Ohzee and the Butcha Remix) [Star 69] December 2005
Flashlight – Vinyl Life [You Records] July 2005

For more information or to listen to Vinyl Life tracks, please visit the following links.
www.vinyllife.com
www.myspace.com/vinyllife
www.vinyllifemusic.blogspot.com

Syn303 Syn303

Interview by Ben Mahayni

We now intercept a transmission of frequencies from Scotland's Syn303. Teleporting us back to the days when acid was minimal.

Where did it all begin for you?
It all began for me when I was ten years old when I first heard Tangerine Dream's 'Rubycon' at a relatives house, the music was very strange but wonderful, from then on I became interested in electronic music and started buying artists like Tangerine Dream, Klaus Schulze etc on vinyl by the time I was 12. And also when I was at High School they had a Roland Juno-6 synthesizer, and I persuaded them to let me have as much free time using it, the thing that hooked me was the arpeggiator where you could create arpeggios reminiscent of Tangerine Dream's complex polyrhythmic sequences.

How long have you been making music?
Well... since synthesizers, even secondhand, are still quite expensive to buy, it took me a good few years to scrape the money together from working and doing odd jobs to buy them. I started making music in the summer of 1996, I never learned to read or write music, as they taught classical music at school which was boring. So i decided to teach myself the basics of music and structure like chords and melodies. Later that year i started to do a free-form of composition called 'Improvisation' where basically you just make it up as you are recording, sometimes the results can be quite remarkable or terrible. I have been making music for 10 years now and will continue to do so.

You have a lot of experience using analogue gear, any past favorites in particular?
Oh! I've been through quite a lot of synthesizers over the past 10 years, my first synthesizer was a Roland JX-3P with the PG-200 programmer obtained quite cheaply then a Roland Juno-60, a Korg MS-10 and some cheap digital sequencers like a Kawai Q-80. Over that time i have been through lots of makes of synths, still doing it yet, it's a thing people call GAS or gear acquisition syndrome, but im not a collector, most musicians find it difficult to settle on a favourite particular piece of gear and i'm one of them.
My past favourites are the Roland Juno-60, MC-202, JX-3P, Korg MS-10. My current favourites are my ARP Odyssey, Doepfer Modular, Roland TR-808 and the Revolutions, my TB-303 tends to sit alone since the Revolutions arrived.

How would you describe your music?
My music is currently described or is under the genre of what you call Retro or what is termed loosely as Berlin-School electronic music which is in the same style as 70's Tangerine Dream, although this particular form of music is not as quite as popular as the techno/minimal or the underground dance scene. By merging the two styles of Retro and Techno I get the best of both worlds and I can switch between the two of them when i like. However listeners of my Retro-side as Syn, don't like the idea of me doing minimalist-techno or acid as i have discovered. So I will move between both genres.

What are some of the artists /genre's that have influenced your music?
The biggest influences on my music are Tangerine Dream, Klaus Schulze, Richie Hawtin (funny enough Hawtin was a keen listener of early electronic music at an early age) much like myself. 80's electro was another big influence, a list of my influences can be found on my myspace website linked below.

At what point did you start releasing your own original tracks?
Since I started making music in 1996, it took me 7 years before I got anything released or that i had recorded, I found an EM (electronic music) label in Germany called Spheric Music run by Lambert Ringlage www.sphericmusic.de who released my debut long format CD album titled "Soundwave Traveller". Then I was picked up by another German based EM label called SynGate Records and they released a further five CD albums of my music.

Under what names have you released music?
At the moment my music is released under my alias as SYN, as I have yet to find a label to release my minimal-techno/acid recordings under my alias of Syn303, hopefully someone will sign me up to release that side of me.

Are you currently signed to a label, or looking for one?
Yes I am signed to Spheric Music in Germany, and have an non-contract with SynGate Records in Germany, with both these labels I can come and go as I please without any restrictions.

What equipment do you use when making music?
Some musicians have a tendency to use everything they own in their recordings, I tend to pick and choose the gear I want to use on a particular track, if I don't require a certain synth or a drum machine, then i put it away until it's needed. I tend to adopt the "Less is More" approach to making music, having too much equipment around you becomes a big distraction and you just end up playing around with it instead of recording your efforts. Great pieces of music are lost cause you simply failed to hit the record button.

How are the Revolutions incorporated in your setup?
They incorporate very nicely into my setup, both are linked together with one doing basslines and one doing lead-line sequences and having the sync-24 outputs is an added bonus to drive my analogue drum machines or my lonely TB-303 (not for sale).

Is there anything in particular that you like about the Revolution?
Yes, It's very easy to use, extremely flexible, it makes a great musical sketchpad as well and in particular you can change your notes as it's running, you can not do that on the TB-303. Although I don't use the Remix functions, since I improvise a lot, I just change patterns on the fly, but Jered has come up with a mighty contender to the TB-303, so well done in that respect.

Is your music multitracked or recorded live?
Mostly multitracked, but entirely improvised. I do all my own recording, mixing and mastering, I had to learn all those skills myself and I'm still learning yet!

Do you have a particular working method when writing tracks?
No! If you try to write a track, it keeps on forever changing cause you dont like this part or that part or you think it could be better, annoying really. I don't write anything, except for keeping some notes of bits and pieces of basslines or melodies I want to use at a later time, for now improvisation works best for me.

How does the Revolution fit in with the way you work?
They are my main sequencers now, I have an analogue-type sequencer also, but now it takes a backseat or I use the Revolutions to control that as well. I find the Revolutions very flexible, although I would have liked the Revs to have 32-steps instead of 16, but you can chain patterns together for the same effect.

Do you have any plans to play live?
I have been offered to play live in the past, but it costs money to flightcase your gear, take it with you, so I primarily remain a studio-based musician.

Are there any new releases or tours coming soon that we should check out?
New releases, no not yet, i want to try and self-release some of my music, as my labels are very picky about what music I do and if it's viable for release or not. I don't do tours, not ready for that yet, probably get stage-fright or something like that. But hopefully I will try and finish 2 new albums this year.

Any words of wisdom for those just starting out producing music?
Yes, it's not about making money, it's about your own personal enjoyment and watching others getting enjoyment from listening to what you do. Too many see it as a way to make easy money, it can take months or even years to be properly acknowledged. Just do your own thing really. If you get personal satisfaction from what you do then you know you're onto a good thing... And finally keep on twiddling those knobs.

How would you like your music to develop in the future?
I've reached a certain stage of development already, but there are so many different avenues or approaches you can take to developing your style. I was doing full on electronic music and techno, but now I've started to strip everything back and become more minimalist and let the listener fill the empty spaces between notes and beats with their own thoughts.

Discography:
2002
Soundwave Traveller (Spheric Music, Germany)
2003
Thru The SynGate (SynGate Records, Germany)
Synphära (SynGate Records, Germany)
2004
Sonus (SynGate Records, Germany)
Orange (SynGate Records, Germany)
2005
Skyline (SynGate Records, Germany)

Visit Syn303 on MySpace for more information, and audio tracks.

Label Links:
Spheric Music
SynGate

Male Model Machine

We now tune in to Vancouver’s electro-duo Male Model Machine, comprised of Alex DeGrace and Stephan Fisher.

What's the Vancouver scene like?
Very diverse. Every genre of music can be found in Vancouver and all genres have a strong following. You can still find underground acid parties which we think is pretty cool.

What age did you both get into music?
Alex picked up his first instrument (the drums) at age 12, Stephan learned to play bass at 10. Humble beginnings to a life long love for music.

Tell us how you guys met?
Alex was in audio engineering school and lived with a friend of Stephan's. Stephan came over one night to spin some records and they hit it off. Soon after the Male Model Machine was born.

You've been together now for over a year, what role do each of you play in MMM? Stephan do you focus more on the programming, while Alex does the engineering? Or do you both share equal roles in the production of your music?
We both write and arrange the music together, and play active roles in all aspects of the music we write. We have no specific roles per se, but have unique talents that lend themselves well to the music we write together.
Alex has a finely tuned ear for designing, shaping, and manipulating sounds. He takes well to drum programming, editing, creating variations and transitions, and arrangement. Alex also works full time as a mastering engineer at Suite Sound Labs, a local mastering studio, and mixes and masters all the Male Model Machine music for release.
Stephan is adept at 16 step programming (777!) , creating chunky acid lines and bass riffs, and has a keen ear for catchy hooks and effective synth sounds. He takes to hardware synths with an intuitive nature, and had discovered many ways to put them to new and interesting use. He really treats the gear as it were an extension of his self.

Stephan, you exchanged studio sessions with Doug Johnson of Loverboy for martial arts coaching. Can you tell us more about this. How did that help influence your work?
Doug was good enough to bring me into his home and show me what a studio was. He encouraged me to listen carefully and to trust my ear. He showed me that making music could be a reality for me and is still very encouraging to this day. A great musician and person.

Both of you also DJ, what names do you use when spinning?
Alex-SHIFT
Stephan-UGLYBOY

That said, we mostly play together now. Even if we do play alone we still represent the Machine.

How often do each of you currently DJ?
5 times a month or more.

Favorite places you've played?
Celebreties is our favorite club to play. Its very well set up and they treat us well.

Which do you prefer doing more...DJ, producing, or playing your music live?
We do not play live as of yet, but it is definitely in the works. In the future we hope to play live exclusively. Creative expression is very important to us, and we both feel it would be better represented performing our music live.

What are some of the bands that have influenced the MMM sound?
Whew...
Jesper Dahlback, Kraftwerk, Soulwax, Tom Neville, Acid house (the old stuff) Legion Of Green Men for a start, although I'm sure we are leaving out plenty.

What equipment do you use?
From left to right...
MS2000, ATC-1, Sid Station, SH-101, FR777, Juno-106, RS7000, Davolisint (circa 1973 and still purring), Alpha juno-1, Nord Lead, Nano Loop, and an ER-1. None of them leaned on too heavily but all used frequently. We also use a mac G4 for recording and sequencing studio tracks, and Yamaha NS-10's for monitoring.

What role does the 777 play in your music?
ACID!!! Although it sees many other uses as well. The 777 has also been used for basslines, leads and stabs in many of our songs. We use it to program other synths by sending MIDI from the sequencer to other sound sources. It also makes a great MIDI to CV converter, which comes in handy for use with the SH-101. It is really vital to our sound and the way we produce.

Can you give us a list of music you've already released?
DJ Timeline - Lipstick (MMM lipstick on my shaft mix) [Live to Tape]
Green Cigar - Levanter (MMM remix) [Slipped Disc]
Shifting Gears/2 Braincells EP [Live to Tape]

What label are you currently with?
Black Van Records and Live To Tape

Any new releases coming out soon?
Played out Singles [Black Van Records]
Control These Instruments [Live To Tape]
The above mentioned have set release dates, but we are also doing remixes for the UndahDub (NYC), Women Affair (Spain), and our girls from Vancouver Stink Mitt!!!

Where do you see yourselves say in 5 years?
In Vancouver writing music. Hopefully touring a little more aggressively.

Any words of wisdom for upcoming DJ's and producers?
There is no one, all knowing, guru of "good music". Listen to all opinions, but don't make all your decisions based on them. After all, it's your music.

Visit Male Model Machine on MySpace for more information, and audio tracks.

For more information please email Male Model Machine:
malemodelmachine@hotmail.com

Label Links:
livetotaperecordings.com
blackvanrecords.com

Mike Hoska

We now visit with Rhode Island's Mike Hoska.

You got into music at the age of 9, being inspired by the likes of Herbie Hancock's Rockit. Can you tell us what you found appealing about electronic music at such a young age?
My brother gave me a Yamaha synthesizer (pretty sure it was a CS-01) and a breath controller for my birthday that year. The sweeping pads and explosive sounds reminded me of movies like Tron and Star Wars (or anything sci-fi that had to do with space or technology actually) And with the whole break dancing, B-boy movement making it into the mainstream media, I had plenty of bass driven, high energy beats to fall in love with.

Do you look at today's electronic music in the same way you did when you started?
I do as far as my love for making music and the endless possibilities I’m given now to write, or design sounds for tracks, but I was much to young to go out then and be part of any 'scene'.

You also started DJ'ing at young age. Can you tell us what DJ's and artists inspired you early on? And what are some of the more recent DJ's and artists which you are listening to and influenced by?
There were a few mix shows on the air in Miami then. Two guys that really stand out in my mind were Lazaro Mendez and Ray Hernandez. Dj Magic Mike, and the Miami Bass crews Jam Pony Express and 2 Live Crew were others that introduced me to Bass music. Also I’d have to say Magic Mike’s scratching style was somewhat of a goal I had to achieve. He was the first dj I ever heard perform fast scratching over bpm’s above 120. Artists and acts that I also really loved were Cybotron, Quadrant Six, Kraftwerk, Bose, Soul Sonic Force, Prince, etc. Pretty much everyone else’s influences at that time. A few years Later I was really into Baby Ford, The early Tresor stuff, then when Underworld released their first album I definitely knew that there was no turning back.

Can you tell us a bit of history on your DJ'ing accomplishments?
Years ago I entered and won quite a few small competitions at local nightclubs and shopping malls in Florida where break dancing competions would be going on. I’ve been in a few regional and national DMC championship finals. Numark Industries has me demo their flagship mixer’s, turntables, and CD players at trade shows.

What were some of your most memorable shows, or highlights in your career?
To be honest some of the best shows I’ve ever done or even been at are just small loft parties right here in Providence. There’s a great little scene here of artists, and musicians that are really creative and down to earth outside of the club world that genuinely like to go out and see others perform. The WMC in Miami is also always a blast to play at most parties. But the Tantra Parties I did with Groovefire and D:Fuse the last three years were insane. Also Steve Porter’s 'Porter House Party' in 2005 was crazy as well. DC has given me some of my best gigs too, rooms are always packed and people just furiously dance till the last track of the night.

At what point did you start releasing your own original tracks?
Around 2002 - 2003

How has DJ'ing influenced the music that you make?
It’s given me the awareness of being responsive to an audience on command. I try to stay in touch with what I know gets a reaction out of people while still trying to stay with in the bounds of the project I’m working on.

Do you play your original material with a live band, or are these tracks included with your DJ sets?
Both actually, I have a couple guys that are amazing guitar players that have sat in the studio for recording and actually come out and play over my dj sets live occasionally.

Are you currently signed to a label, or looking for one?
Nothing exclusive. The track “Earthquake” I produced with Todd Hanna of Groovefire is on Little Mountain Recordings out of Holland. That track has done really well and the remix is currently on Sander Kleinenberg’s newest compilation “This is Everybody Too”. Another track I did under Groovefire is “Mama” which is out on Release Grooves and hit # 3 on the Balance Charts. And my most recent track “Telephone door” is on Reversible records and also on Steve Porter’s “Porterhouse” compilation, which consists of all local artists in the New England area. (thanks Steve)

What equipment do you use when making music?
When using my computer for composition I sequence in Sonar. Plug-ins I use are the Oddity, Pro53, Arp 2600 by Arturia, and the Ohmforce package. I use the Akai MPC 2500 otherwise. I use the Electron Monomachine, the Roland V-Synth, Korg’s MS-2000B, the Electrix Filter Factory, MOFX, and Warpfactory, The TC Electronix Finalizer 96K, Aphex’s 204 big bottom aural exciter, Numark TTX’s & CDX’s and DXM09 for sampling and scratches, an Alesis Multimix board and of course my beloved Revolution.

Several of your tracks use the Revolution synthesizer. Can you tell us about it's role in your music, and what tracks it's been used on?
It’s a piece that I can always bring with me to any gig (because its so light and easy to slave to any unit). It sounds amazing over drums alone. I never owned a TB303 but have been in love with Acid House for years. It’s very easy to make changes with on the fly using the remix knobs, so it pretty much serves its purpose as a bass line or a lead on a lot of my tracks. It’s highlighted on 'Self Powered', 'Digi Pimp', 'TrackspellX', 'Telephone Door', & 'Sometimes I Feel'

Is there anything in particular that you like about the Revolution?
It has the easiest interface once you get use to it. And it instantly cranks out grooves, I’ve gotten to gigs without a single pattern in it, and in ten minutes with the headphones on I had over an hour worth of material to play with. Not to mention how raw and amazing it sounds. The loop feature and remix knobs are great for creative inspiration, especially if you already have somewhat of a twisted groove going, it will rearrange that to the next level and surprise the hell out of you.

Are there any new releases or tours coming soon that we should check out?
I’ve got a four track EP coming out on NOSI music. And a four track EP coming out on Cozy in June. Those two EP’s are being released digitally only. Both will be available on most online retailer sites, as well as the EP coming out on NOSI. Reversible Records will be releasing the track “Telephone Door” as a single maybe with a remix soon as well. I wish I had time to set up a tour. I don’t have exclusive representation at the moment so I pretty much handle all that myself and there doesn’t seem to be enough time in the day to handle both at the moment.

Any words of wisdom for those just starting out DJing and producing music?
From the dj side of things, years of hard practice are the only way to be a proficient DJ, technically. But as far as the relationships you build along the way that comes down to your personality and people skills. If you’re pursuing this professionally, try and promote yourself as much as you can without being arrogant, support others and be cool, but don’t be a pushover you don’t want to be playing to an empty room at 10pm for free 15 years down the road. When you’re confidant in your abilities, you will know. From a production stand point, try to acquire obscure gear so you don’t sound like everyone else. Don’t be afraid to step outside the box and try some different arrangements. And listen to as much different music as possible.

Discography:
2003
Quinta Avaneida (Groovefire)
Energy Shot (Groovefire)
Drive (White Label)
Theres something about (White Label)
2004
The Acid Bus (White Label)
Destination Unknown” (rmx) Missing Persons (White Label)
Headway (White Label)
Newtrip (White Label)
Pseudofeds (White Label)
Free for All (rmx) Ted Nugent (White Label)
2005
Earthquake -Groovefire (Little Mountain)
Mama - Groovefire (Release Grooves)
Dubble Vision (rmx) Foreigner (Hush)
Goodtimes (White Label)
Sometimes I Feel (White Label)
Linda’s Theme -Groovefire (rmx) The Cars (White Label)
2006
Baking Soda (Hush)
Franks 1st Date (Cozy)
Sputniqo (Cozy)
Self Powered (Cozy)
Telephone Door (Reversible)
Digital Pimp (NOSI)
Blues Box (NOSI)
Do Things Right (NOSI)
On Dope (NOSI)

Visit Mike's website here for more information, and audio tracks.

For more information please email Mike Hoska:
mikehoska@gmail.com

fFormula1 The fFormula

We now catch up with the Brooklyn based artist The fFormula. With two of his works featured on the new release called Machine Punk Music, a six track compilation of artists from the new Black Van Records label due for release on 11:11:2005.

How long have you been making music?
I started playing bass in ’94 and I’ve been producing electronic since 2000.

What names have you released music as in the past, and which ones are currently in use?
My solo work is released as The fFormula and my group work is put out as Luxxury.

How would you describe your music?
Aggressive, minimal, dance. Soundtracks for fist fights.

What are some of the bands that have influenced your music?
Graham Central Station, Gang of Four, Kraftwerk, Sly & The Family Stone, Primus, Sex Pistols, RHCP, Depeche Mode, Fugazi, Daft Punk, Prince, The Clash, New Order, 808 State, LFO.

fFormula2

What equipment do currently use?
Future Retro Revolution, Akai MPC, Nord Lead, Pro-Tools, Ableton Live

What role does FR equipment play in your music creations?
The Future Retro sequencer plays a major role in my tracks. I use it to trigger my synths and samplers. The new swing and remix functions are sick! It’s impossible not to be inspired with this gear.

You have used the 777 and Revolution, what do you find makes these different from some of the other instruments available?
Simplicity of design and ease of use. These synths are so mean. Pure acid.

Tell us what insirped you to start your own record label, and what types of music and artists will be featured on Black Van Records?
Black Van was created to put out electronic music that expresses the ideals, attitude and aesthetic of punk. We’ve heard a new style of music over the past couple years that’s not quite house, electro, or techno and we’re calling it Machine Punk. We're interested in bringing our own style of Machine Punk to the electronic music scene.

Can you tell us about your live shows?
We throw a monthly Machine Punk party in NYC that features friends and artists of the label. Event information can be found here.
We threw our first Machine Punk event 09.09.05 and it was madness. We’re putting together a label showcase tour for the end of the year and we’ll be up to something at the WMC. Check here for updates.

Where can people get a copy of the new Machine Punk Music 12 inch?
It's available through Syntax Distribution and Beatport.com
BV001 | Machine Punk Music | 11:11:2005

Are there any other projects in the works that we can look forward to?
Keep an eye out for upcoming 12” singles and the next Machine Punk comp coming out early next year.

Machine Punk Audio (mp3):

Cold Blooded (Acid Cleanse) – The fFormula
Electroshock – Nolan Fisher vs The fFormula

Paul Wagorn

You're located in Victoria Canada, correct?
That's right, I came here to visit more than 10 years ago and liked it so much I stayed!

How is the electronic music scene in Canada?
It's great. There is a ton of amazing talent here, and it's a pretty tight-knit community. Unfortunately it seems as though many Canadian producers get more recognition in Europe than they do here. The record industry is getting hit quite hard here and in the US as DJ's start to use CD's more, so it's getting tougher and tougher to make any money producing "underground" electronic music.

Under what names have you released music?
I've used Mactac, Puffboy, House of Orange and Duophonic. Future releases will likely be under Paul Wagorn.

How long have you been making music?
I've been making music for about 20 years. Over time, I've gone through drastic style changes and have played techno, house, dub, funk and have played bass in a bunch of rock bands.

For those who have never heard your music, how would you describe it?
I'd say that right now I lean more towards techno and acid techno. I very much like atmospheric sounds in the background that add a bit of "ear candy" to the track. Of course I'm an analogue fetishist, so analogue sounds are all over my tracks! With my downtempo stuff, my tracks have a dubby feel, with the bassline usually the focus of the track.

What are some of the bands that have influenced your music?
All the old-school acid house, house and techno got me excited about the music and I'd say it influences my music a lot, Dave the drummer, LFO, Severed Heads, Basic Channel, Plastikman, all the Detroit guys, and of course Jean Michel Jarre.... but most of my inspiration to keep making tracks comes from listening to the music that all my friends make. There is some fantastic stuff coming out of Canada! If you haven't already, definitely check out Hrdvsion, Mathew Jonson, Deciblast and DJ Jelo.

I read that you got started out DJing, before transitioning into making your own music. Do you still DJ, and how do you feel DJing compares with making your own making music?
I haven't really DJ'd for a few years. Because of a limited amount of time, I've had to focus on one or the other, and producing music gives me a far greater satisfaction than DJing. I do find that DJing helps immensely with keeping a feel for what sort of thing works in a track, and I still buy and spin records at home. I'd recommend at least DJing at home to anyone trying to produce tracks destined for DJ use.

I've heard some pretty big name DJ's have been playing your tracks. What compilations have featured your work?
The play I've gotten from bigger name DJ's (Carl Cox, DJ Dan, Donald Glaude, etc.) has been partially the result of some good marketing by my former label. They were aggressive about getting white labels out to people that count. Among others, my tracks have appeared on CD's by Chris Liebing, DJ Jelo & also on a Love Parade bootleg compilation.

Are you currently on a record label, or looking for one?
Stickman Records closed up shop a little while ago, so I'm currently looking for a new home (are you listening?)! I've started my own label and plan to start releasing (other artists') minimal techno & acid soon.

What equipment do currently use?
Here's a partial list of my current setup:
Future Retro Revolution
Future Retro 777
Moog Minimoog
Sequential Circuits Prophet 5
MOTM Modular synthesizer
Doepfer Modular synthesizer
Nord Rack 2
Doepfer MAQ16/3 analogue sequencer
Waldorf Microwave
MAM MB33- mkII 303 emulator
Roland JX3P
Roland TR909
Roalnd TR606 (that I modified to have trigger outs for all the instruments)
Elektron Machinedrum
Roland Space Echo re201
Mackie 24-4 Mixing Desk
Mackie 824 monitors
Alesis Monitors

A variety of "regular" instruments, a few basses, a guitar, amps, etc. I have this little bass called an Ashbory with silicon rubber strings. It's only an 18" scale length, but has the hugest sound on earth.
..and a whole bunch of effects, compressors, etc.

I've had and gotten rid of many times this much gear over time, including an ARP2600, 5 or 6 TB303's, 4 TR909's and tons of Polysynths. I miss every single one of them!

I have everything in my studio with a CV or gate in and out, or audio in plugged into a patchbay, so I can plug anything into anything else very easily. It saves tons of patch cable mess!

What role does FR equipment play in your music creations?
My 777 and Revolution play an extremely important role in almost all of my electronic music. In just about every track I've released you'll hear a 777 in there somewhere, but more often than not, it plays the focal line in the track.

How do you feel the analog equipment compares with the newer virtual instruments?
I have the Microwave and Nord, and I must say I don't use them as much as my analogs. I really enjoy trying to push gear to a point where it's doing something unexpected and something that "it's not supposed to do", but with virtuals this is difficult because of how they are deigned. There is a certain "magic" that can happen with some analog synths that you'll never hear from a VA, I can almost "see" the sound coming out of my Minimoog or Prophet. I'm also a "knobs and patch cables" sort of guy, so true analog just appeals to me. The nice thing about virtuals though is repeatability. If I make a sound on my Nord, I know that a year later it'll sound exactly the same.

What tracks online features the 777?
Every track listed under "Discography" uses the 777 except for the Deemah remix (because it's a remix!). Many of the tracks on my website also use the 777, especially the techno ones.

Visit www.orange-records.com to hear a collection of Paul's tracks.

Are there any projects in the works that we can look forward to?
Hopefully I will be releasing some tracks that I've been sitting on for a while. If I can't find a label, I might release them myself. Also, my first release on the new label will be a killer!

Discography:
As "Puffboy":
Stickman Records - "Mind Bugs"
Stickman Records - "Snorkel"
Stickman Records - "Fission"
Stickman Records - "Pulse Width"
Stickman Records - "Down Deep"
Stickman Records - "Carp3"

As "House of Orange"
Stickman Records - "Fuzzy Naval"

As "Paul Wagorn"
Slush Recordings - "Mazar Deemah rmx" to be released...

For more information, you can email Paul here.

JosephButterbaugh Slackhog

What are all the names you currently produce music as?
I have bred creations using the titles... Trash, Plex, Slackhog, Puzzle-24, and Stolen War-Bot.

How long have you been making music?
I have been making music since 2000. I started with the old family computer and Cool Edit Pro. Moving up the ladder I soon got an Electribe ES-1 and tweeked it untill it proclaimed itself no longer teekable. Thus stepping into the world of analog.

What inspires you to make music?
The creative spirit that dwells inside me often emerges to bloom into wonderful works of art, music is one of these many arts. I like to let my subconcious speak and in making the music with nothing in mind I feel I reflect this. Also in randomly choosing patterns on each machine that were previously programmed a sense of chaos is wound into the mix.

What equipment do you use, and which would you say are the vital pieces in creating the Slackhog sound?
I Slackhog would be nothing without my wounderous gear. Among the pieces residing in my bedroom studio are a TR-808, TR606, FR-777, Mobius sequencing a Radio Shack keyboard, a Mackie 24-4 VLZ. And newest to the family is the Revolution. Definitly analog mono synths and beat boxes are vital to the Slackhog sound, analog delay and reverb are also necessary to give that breadth of space.

What FR products do you currently use, and what role do they play in your music?
Currently my production facility weilds one of each of the glorious Future Retro products. The 777 being as astonishingly versitile as it is makes it pretty hard to list all of its possible roles. Though, since the Revolution has come into the picture I have been using the 777 alot as a filter/gate box. Sending hi-hats through it churns them into slithering swishes of sizzle. Controlling the gate via the Revolution or Mobius through analog signal allows for constantly variable parameters that coincide with whatever pattern it is that is programmed and played on the external sequencer. Having a switch to choose whether the gate is controlled from the internal sequencer or external allows for real-time manipulation of the gate. Giving the perception that the hi-hats are jumping all over or even going backwards when using the gate output of the Revolution.

Is your music multitracked or recorded live?
The vast majority of my music is recorded in real time, though I have experimented with multi-tracking on Cool Edit Pro and a Fostex VF-160. Mixing on the recently aquired Mackie SR24-4 VLZ makes it so much easier to do realtime.

Do you ever play live?
Live shows have been rather scarce for Slackhog, as relocating my gear is rather difficult. Though building a mobile rig for my gear is planned for the near future.

Can you give us a list of current CD's you've done?
The list of cds I have produced is far to large for me to list. The last few good ones are Sphunk, Slackhogings and Musical Transport via Slackhog.

People interested in my music and info can contact me at the link below. I'm always down for conversations with new people and sharing music. CDs with original artwork are available for reasonable costs. Each will be unique to itself, meaning the case and CD will be arted up by me in some visually pleasing way. Being as un-promoted and underground as I am my fan base is very small. Contacting me will put us on a very personal level.

And now... A poem from the artist on his relationship with music.

Bred to consume...
These movements I make...
Measured in total...
Asleep or awake...
I crawl through my eyelids...
Curious with delight...
To carve on my soundscape
under the net of twilight...
Rupturing forth with analog froth...
An electronic force sweeping wide and across...
The spectrum of control constantly variable...
Each degree significant, yet kept simple...
A knob, switch or button for each
dedicated function...
A metaphorical road in which there
is no direction...
With an exception, each is a lesson
to tweak and to press on...
And I'm the clown to juggle these
sounds, with impression...
So listen to my mix, an get
lost within dimension...
Be the one to connect me to you,
not by common invention.

Visit Slackhog (old site) or Slackhog (new site) on MySpace for more information, and audio tracks.

For more information please email Joseph Butterbaugh:
greattastingsoda@yahoo.com

Steve Bug

We now travel the oceans far to the land of Berlin Germany to visit with house musik's Steve Bug. His accomplishments include being founder of the Raw Elements, Dessous, and Poker Flat recording labels, DJing some of the phattest festivals and clubs around the world, along with numerous mix compilations, remixes, singles, and albums. In April 2004, Bug released his single "Future Retro 101" which has since reached number 1 on the German club charts.

How long have you been spinning records as a DJ, doing remixes, and making your own original tracks?
I'm DJing in clubs since '91, producing since '93.

What inpired you to get into the music scene?
I just loved house musik...

How would you describe your music?
Always hard for an artist, but "Sexfunkgroovesoulbuttshakinminimalhousetechmusik" may feature some of my thoughts..

You have started and operated record labels, DJ'ed, remixed other people songs, and made your own original music... which do enjoy doing the most?
All at the same time, I really found my passion!!!

You've started several record labels, which ones are you still active with other than Pokerflat?
Right now there is only Dessous, a label for more deep and classic house music. From time to time I'm doing series like "Traffic Signs" or the "B-Series" cause I love to release stuff without putting my name on it, to see if people will buy it for the music only. Also it's good to have side projects where your head is totally free, production wise...

What countries have you played in, and what is one of your most memorable shows?
I played in a lot of countries around the globe, but I think it's more about the club than the country you're playing at. But I still love Australia, especially Sydney and Melbourne, always good crowd and nice atmosphere...

Steve Bug 2 Tell us a little about your new release Future Retro 101... I heard this single went number 1 on the German club charts.
It was in the club charts for all possible 8 weeks, 5 weeks top ten, and one week on the highest position, it was also in the German dance charts for six weeks, highest position there was 35.

What equipment was used in the making of Future Retro 101?
The Future Retro Mobius as sequencer to sequence the SH-101, that made all the sounds, wich I recorded into the computer to build the next line, the sampler for the beats and logic audio and the master keyboard to programm the drum patterns. Plus some effects and compressors, and of course my analog mixing console...

Tell us more about how you decided to use the 101 and Mobius exclusively on this release.
I found it was a good couple. I had not used the 101 before, I just got it in Japan a few months earlier. Then I bought the Mobius and it was the perfect match to me, so I decided to do something special and use only these two machines for a special release.

Can you tell us what you like about the Mobius?
It is so simple to program, the groove is amazing, and the option of taking the whole line 1/4 steps forward or backward... it's just amazing. I don't think I would have played those lines on a master keyboard, so it actually kinda made those tracks!

What other works are currently in progress, or any upcoming shows people can look forward to?
I'm working on two things right now, one is a mix compilation where I'm trying to get away from a usual DJ mix, more into an edit kinda thing. This one should be coming out late fall. Second is my new album for Pokerflat, wich may be released by early next year. I'm also playing every weekend somewhere around Europe, in October I'm going to tour Japan, end of this year South America, no gigs planned for North America right now, but we will see.

Any words of wisdom you would like to add?
Sometimes a small step back, is a big step forward...HaHa

Discography:
Phax feat. Steve Bug - Tri Top (Superstition)
Goldfinger - From Season To Season (Superstition)
Steve Bug - Bugwahn (Superstition Special)
Steve Bug - Mein Bug Dein Bug (Superstition Special)
Steve Bug - Bug For Everyone (Rising High)
Clever´n Smart - Clever´n Smart (Superstition Special)
Steve Bug - Bride & Bridegroom (Superstition)
S.B. Entertainment presents - Highlife (Utah Rec.)
Steve Bug vs. Acid Maria - Toby Nation (Raw Elements)
Clever´n Smart - Tea´n Tea (Superstition)
Clever ´n Smart - Nonlinear (Superstition)
Big Jim vs. Ken - Po Sex Barbie (Utah Rec.)
Steve Bug - H0 (Raw Elements)
Steve Bug vs. Acid Maria - Indescreet (Raw Elements)
Steve Bug - H0 Future Lines (Stickmen)
Steve Bug - Released Trax Album (Raw Elements)
SB to DD - Domizil EP (Stereoskop)
Steve Bug - On The Road Again (Raw Elements)
Steve Bug - Volksworld - Album (Raw Elements)
Steve Bug - Da Minimal Funk Vol.1 (Raw Elements)
Steve Bug - Da Minimal Funk Vol.2 (Raw Elements)
Steve Bug vs. Acid Maria - You Might Be Surprised (Raw Elements)
The Chichi Squad - Title (Axodya)
Superlova - Loves You Allnight&Day (Raw Elements)
Steve Bug - Drives Me Up The Wall (Raw Elements)
The Discowboys - On A Houseride (Dessous)
The Discowboys - Have Stolen Some Tracks (Minifunk)
Superlova - Something On My Mind (Stir 15)
Steve Bug - Double Action (Poker Flat)
Clever ´n Smart - Filtadelic (Lo-Fi)
Steve Bug vs. DJ T. - Monsterbaze (Poker Flat)
Steve Bug - The Other Day - Album (Poker Flat)
The Discowboys - Still Ridin´ (Dessous)
B-Series - 001-003 (B-Series)
Steve Bug - Soulin´Deep (Dessous)
Steve Bug - At The Front (Poker Flat)
Steve Bug - A Night Like This (Poker Flat)
Steve Bug - A Night Like This Remixes (Poker Flat)
Steve Bug - You Make Me Feel (Poker Flat)
Steve Bug - Freshly Squeezed (Poker Flat)
Richie Hawtin & Steve Bug - Low Blow (Minus)
Steve Bug - Sensual - Album (Poker Flat)
Steve Bug - November Girl (Poker Flat)
Steve Bug & The Common Factor - The Pull E.P. (Tactile)
Steve Bug - That‘s What I Like (Poker Flat)
Steve Bug - Da minimal Funk Vol. 3 (Poker Flat)
Steve Bug - presents Future Retro 101 (Poker Flat)
Steve Bug - Loverboy - Re-Loved (Poker Flat)
Steve Bug - Houze/Summernights (Ovum)

Hear clips of Future Retro 101: click

Check out Steve Bug's other works at:
www.pokerflat-recordings.com

Visit Steve Bug on MySpace for more information, and audio tracks.

Resta1 Anthony J Resta

We now journey to the "sci fi mambo liquid centre lab", Bopnique Musique, to visit with artist/producer/programer Anthony J Resta. As a producer, Anthony's work can be found in numerous chart topping albums, movie sound tracks, and television series. With credited works achieving gold and platinum status, Anthony was also nominated for "producer of the year" in 1999 at the Boston Music Awards. His ability to integrate modern elements into more traditional rock provides a fresh new sound for this genre.

In addition, his solo project Ajax Ray O'Vaque has released the first full length Demo's of Saturn which includes an array of musical styles including hip hop, techno, jazz, classical, and mambo.

How long have you been playing/recording music?
Since high school 1977!

What do enjoy most about being an musician/producer?
I enjoy traveling and learning from artists. Everything you think you know and are great at:
Someone can do it better, then twist it into something you never thought of! Being humble is important. Some 19 year old kid will come along and shock you! Of course your experience will help them as well but it goes both ways.

What label you are on now, or labels you are working with?
I have been contracted by Capital , Emi , Island Def Jam, Columbia, Atlantic, Giant, A&M, Castle Von Buhler, Intelligent records, Elektra, Warner etc. They all take 90 days to send you $ that's how i remember them all .....

What bands have you previously done work with?
The most well known are Duran Duran (over 30 songs including remixes), Collective Soul (last two platinum), Shawn Mullins, Blondie, Megadeth, Guster, ect... (for more info and specifics please visit www.anthonyjresta.com)

What are some of your more recent projects?
I have been spending the past year developing new artists from the ground up and a few have been released. A band from England called Gods Little Joke has a deal on the table and is about to make some noise. Its really great music. Also some singer/songwriters Jennifer Crane, Chad Lamarsh, Andrea Surova, Denise Hradecky (about to be released on Intelligent Records, Annette Farrington (on Castle Von Buhler Records), Annette is currently at #3 on the MP3 alternative chart right behind Dave Matthews! Also working on a record with
Donna Delory known for her studio and stage work with Madonna (for nearly 10 years.)

How long have you been using the 777?
About 3 years.

Resta2 Which tracks has the 777 has played a role in?
Rarely does a production go by where I don't use the Future Retro 777. I think it is one of the most amazing pieces of gear I own. I have 1500 square ft of sonic mayhem, old Moogs, Jupiter 8, Russian synths like the legendary Polyvoks, Modulars...tons...and the Future Retro does some things that are really unique. The sequencer has a feel that is very tight . The groove it has or its internal quantization or whatever feels like an MPC 3000 to me, which is the tightest sounding clock made for sequencing beats.

That's a big hats off to the Future Retro. Especially in a world of Reason and VST stuff that is so perfect it lacks personality. USB sucks and doesn't feel right to me. I am sure there are people who think I am an ass for saying that, but there are just as many using Atari computers and Mac II CI' s because they groove better. Yes I am crazy. but let me have my opinion. The main thing about the 777 is that you can get an infinite variety of sounds. I keep stumbling across cool accidents. Using the non gate settings and switching the gate in and out manually can create some amazing textures.

How is the 777 incorporated into your setup?
I have it chasing my MIDI clock. I often run guitar through it, and cut up the rhythm any way I want. I also slave it to a Roger Linn Adrenalinn and start the sequence at various weird parts of a bar. This way each 16 note pattern has 16 different possible interpolations.

Is there anything you would like to say for those listening? Or words of wisdom for aspiring musicians?
Perseverance is the key to this business. They call it "slow biz" short for show biz. Everything takes time. What you're hearing often on the radio was recorded 18 months ago, and the bands played the songs the same way for 3 years before that! It takes a ton of persistence and patience to make it in this current climate.

For more information on the artist and his work, please visit:
www.bopnique.com (to find out about current downloads at mp3)

And look forward to the new site at:
www.studiobopnique.com

Contact Information:
Lippman Entertainment in Los Angeles
Phone: 818-567-0624 (Kathy Anaya)
Email : anthony@bopnique.com

ChrisEldridge Chris Eldridge

How long have you been making music?
I've been playing music for 6 or 7 years; I've delved deeply into electronic music over last year.

Are you playing any live shows?
I've only played a handful of live electronic shows - little hole in the wall called "Kirby's" and a few parties; there isn't much of an "electronic scene" in Wichita. Also, if I find another person to assist, I'll play out a lot more. A one-man-analog-band can only do so much.

Where did it all begin for you?
I became interested in electronic music back in '94 after buying a "Hardcore DEVO '75-'77" tape in a Wal-Mart dollar bin. Since then, I've been inspired by Six Finger Satellite, Menâs Recovery Project, Brainiac, (Computer World) Kraftwerk, Suicide, and a few artists I've heard on mp3.com, including:
LotechRetards and Brain Corridor. But basically, a Juno 6 was my first analog and I needed to find a way to clock its arpeggiator. Then I got into analog drums, bought a modified MC 202, and I've really had a lot of other gear that I've bought and sold. I'm into analog sounds and analog creation. I know I would crap my pants if I ever got hold of a hardcore modular synth, because I love patching voltages and signals together to blend two machines into a totally new one. The possibilities and sounds
are so great with analog equipment. So here comes along the FR-777 and blends the sequencing technology of today with a brand new and unique analog synthesizer (capable of retro sounds and new sounds!)

Other musical activities?
A three piece band I was in called Ninja School released a 7" on ismist records (in Minneapolis, MN.) - I played guitar and sang. I'm also currently in another rock band; we'll probably release a 12" LP sometime soon.

Music category?
Electronic trash?

How does the 777 fit in to your studio?
The 777 plays many roles in my setup - the main lead or bass line, an added percussive element, a CV generator, an effect box, a clock, and a monophonic keyboard. The thing I like about the 777 compared to my other equipment is its sequencer. The live sequencing (don't have to save before you move on), and the "chain ability" of patterns/songs. I've also started setting different
loop points within a pattern and turning them off and on at certain spots. The pattern shift feature is great for creating new patterns from an old one - or when executed correctly, can add a different live element to a song by slicing up a pattern. And the most important part of the 777's synth section - the MODULATION - this is what really sets it apart and creates the unique filter/pitch sounds. I can't even begin to describe the sounds the synthesizer is capable of.

For more information please email Chris Eldridge:
z_flash_ram@yahoo.com

Sheltershed

Wil Foster: Programing
Craig White: sampling
Rob Tippey: Audio Tec

How long have you been playing?
The concept of Sheltershed was forged into being back in 1996 under the A.K.A. "Atlantis" and was silicified as "Sheltershed" in 1998. Wil Foster Sheltershed's front man started his journey back in 1985 as a DJ and progressed into the realm of live programming to enhance his live mix sets. Joining forces with Craig White and Rob Tippey only brought to light the need to transform this experience into a live PA.

How often (average) do you play live?
We have actually cut our live PA's down to about once a month, We are in the process of refocusing our efforts on a new CD and remixes This has called us to spend a lot of hours in the studio.

Are there any clubs you are playing live at?
Being a DJ has still aloud me to have an active outlet for playing live in between projects. The last club I played at was in Illinois. at club called "C street" it was for an event called "Hydrophobia" this was a wild experience, it is set as series of parties over the next few months highlighting and embellishing on fear." www.phobiagogo.com"

Countries you've played in?
Only Australia and the US so far, have been asked to come over to Germany later this year.

What label you are on now?
We have just finished out our contract with N*soul records, and have now joined with MYX Recording Group out of LA. We are extremely exited to be apart of this labels artist list. Scott Blackwell CEO. Is truly a pioneer in the electronic seen, his experience and trax record had us sold.

What got you into the whole scene?
I got a taste for dance music back in the early 80's with artists like Pseudo Echo, Joy division, and the Europan mod movement. This soon grew into a love for artists like Lords of acid, Front 242, Nitzer ebb. and the rise of EBM. Probably the biggest turning point for me was back in 1992 at a Chicago club called "Medusas" It was more than the club that changed my perception. it was the time and the area that feed my desire to produce. Experiences and locations like "wax trax", "Gramophone" and "the alley" events like "Download" Saturday night ground floor "Medusas" and pioneers of the electronic seen visible and grounded in the culture of this small section of Chicago dubbed "New town" for me an era was created around the corners of Clark and Belmont.

If you had to categorize your style for those who have never heard Sheltershed, what would you call it?
It is so messed up I would have no idea how to put it in a box, If I had to pin down a title it would probably fit in " electronica" it has old school techno elements and new wave beats, trance synth leads and break beat edits. Something your parents will hate.

What artists influenced you?
Not sounding to much like a 12 year old school girl with a Nsync t-shirt. But I have been influenced by a wide variety of artists like. Nitzer Ebb, Front 242, KMFDM, Arkarna, New Order, The Detroit UR moment and early Berlin techno. recently artists like VNV Nation, BT, and the Echoing Green have inspired a new stem of programing to Sheltershed's sound.

How do you use FR equipment in your setup?
We have the fr-777 and use it primarily in the studio as a stand alone unit. It's capability as a leed synth blows my mind, you think you have taken it to the limit and a quarter turn of a knob opens a whole new dimension to it's possibility. It's thickness in producing bass lines and wild slides gets me sick every time. We are hoping to add the Mobius to our set up in the near future to use as a dedicated step sequencer. If you are thinking of getting a 777 smash your piggy bank.

Anything you would like to say for those listening? Or words of wisdom for aspiring musicians?
Find your own technique and take it to the limit. Originality is still the key.

Discography: Past releases, 12", EP, LP, CD, MP3:
Equipment (CD) - Sheltershed (indie Demo) 1997 Australia.
Echo Base (CD) - Sheltershed (indie/Submerge Records) 1998 USA.
Snowed in (EP) - Sheltershed (indie/Submerge Records) 1999 USA.
UR remixes (CD) - Sheltershed (N*soul Records) 2001 International.
DJ Culture(Video) - Sheltershed (N*soul Records/Submerge) 2001 USA.
Crashlander (EP) - Sheltershed (Submerge Records)2001 USA/Mp3.
Cloudcity (CD) - Sheltershed (MYX Music group)
Compilations:
Sureshot (CD) - Sheltershed (Trax: Arrival)(Strategy Records) 1997 Australia.
Descedance (video) - Sheltershed (Trax: Arrival)(Strategy Records) 1997 Australia.
Ballistic test 7. (CD) - Sheltershed (Trax: Planet earth)(Ballistics test Records) 1998 USA.
Ballistic test 8. (CD) - Sheltershed (Trax: Echobase)(Ballistics test Records) 1998 USA.
Automata 1. (CD) - Sheltershed (Trax: DJ Culture)(Flaming Fish Records)1999 International.
Automata 2. (CD) - Sheltershed (Trax: Belife)(Flaming Fish Records)2000 International.
Automata 4. (CD) - Sheltershed (Trax: Deepdisco)(Flaming Fish Records)2001 International.
Eclectica 3. (CD) - Sheltershed (Trax: Planetearth)(N*soul records)2000 International
Remixes:
The Glimpse - Sheltershed (Artist: Massivivid)
Supernova - Sheltershed (Artist: Echoing Green)
Searching for you - Sheltershed (Artist: Red Savior)
Dust remixes - Sheltershed (Secret Archives of the Vatican)
No more compromise - Sheltershed (Rubicon 7)
Summoner - Sheltershed (Sony PlayStation/ Volition Inc.)
Amazing - Sheltershed (Matt Redman)
Side projects:
Bright Blur (CD) - Massivivid (Tattoo Records) 1999 International.
The Glimpse (EP) - Massivivid (Tattoo Records) 1999 Radio.
Bright Blur (Video) - Massivivid (Tattoo Records) 1999 International.
Lo-Fi vs Si-Fi (CD) - Deitiphobia (N*soul Records) 2000 International.

For more information on Sheltershed, please visit their site online:
http://www.sheltershed.com/
Or send email:
sheltershed@sheltershed.net

Visit Sheltershed on MySpace for more information, and audio tracks.

Jazz-E & Moda

DJ Moda Jazz-E & Moda, the San Francisco-based duo behind the Trancefusion label, recently became the lucky winners of a FutureRetro 777. The duo submitted their track for consideration in the FutureRetro 777 competition.

Jazz-e & Moda, both longtime deejays from the Bay Area, decided to move their talents up a notch and form Trancefusion, incorporating live music into their deejaying, and eventually recording tracks. Their track, "Funkin Acid," debuted at the March 1999 Winter Music Conference in Miami and featured the 777.

Skylab 2000

Several years ago when FR was just getting started I had the opportunity to go behind the scenes of a local rave, meet Skylab 2000, and show them what we all know now as the FR-777. I can't remember which was more exciting, me showing them my baby or watching them totally rock the crowd with their live set. Their driving beats form the sonic foundation, while distorted leads cry out and acid line chirps turn into a scream as the dance floor frenzy intensifies. The mastermind behind this madness is none other than Dennis Barton. No newbie to the scene, Dennis has been making music most of his life, and it's obvious when you understand that all his releases are actual live performance, no multitracking whatsoever. All those years of experience have helped their shows to become one of the top live acid trance acts out there. Touring almost non-stop with the FR-777 and playing huge shows nearly every weekend all around the Earth, there is a good chance you will encounter the phenomenon for yourself. Look for them this summer orbiting not only around the US, but also Turkey in June and Hong Kong in July. For tour dates and bookings, please visit their web site at www.skylab2000.com. Hear Skylab 2000.

Visit Skylab2000 on MySpace for more information, and audio tracks.

On the horizon, and soon to land in record stores, will be a new single titled "Seven is Heaven," which I'm absolutely dying to hear, especially after being told it was named after our favorite synth.

Jason Nevins- Remixer/Producer

What new remixes have you been working on?
1. Britney Spears (Jive) "Lucky"
2. Ideal (Virgin) "Whatever"
3. Kelly Price (Island/ Def Jam) "Mirror Mirror"
4. Chante Moore (MCA) "Straight Up"
5. Robbie Williams (Capitol) "Rock DJ"
6. Shaggy (MCA) "Dance and Shout"
7. Anguun (Sony France) " Still Reminds Me"
8. Liroy (BMG Poland) "Scyzoryk"
9. Southside Rockers (Sony Germany) "Jump"
10. Kaps (Edel US) "Somebody To Love"
11.SRC (Warner Bros.) "How Soon Is Now"
12.TRF (Avex Japan) "Masquerade"

Any featuring the 777?
TRF, Britney and Kelly Price

Who would you say are the most impressive artists you've done remixes for?
Will Smith, Janet Jackson and RUN-DMC. I have always loved RUN-DMC and to work with them and have my name up with theirs was a big honor.

How long have you been producing/remixing?
I have been remixing/producing for 9 years, starting right after I graduated from Arizona State University.

How many remixes on average do you do a year?
I probably do about 15-20 remixes a year, although I probably did 30+ remixes the last two years (when the "Its Like That" was at its high).

What got you into the whole scene?
I originally got into remixing and producing dance music from DJ'ing. I started DJ'ing because all of the girls liked mixed tapes and it was a great way to meet them. Back in the early eighties, dance music was really breaking in and I loved all of the records that were coming out at the time. I was a vinyl junkie, getting everything I could get my hands on. During college, I met someone who worked for a remix service and basically begged him to let me hang out and watch him work. He introduced me to computers and editing. We had finished a record right before I graduated and I sold it as soon as I got back to New York. That was my first taste of the music business. From then on, it was just work, work, work.

What label you are on now?
After the RUN-DMC sold approx. 5 million copies, I signed with Sony Germany for a worldwide exclusive deal.

Anything words of wisdom for aspiring musicians/producers?
Work all the time, keep doing different projects and be persistant. Keep knocking on doors and making phone calls to labels. Most importantly is love what you do. I am fortunate enough that I love making records and I can earn a living at doing it.

Contact info
www.jason-nevins.com

Links
http://www.muse.ie/archive/interviews/jason.html
http://www.allmusic.com/cg/x.dll?p=amg&sql=B20598

Visit Jason Nevins on MySpace for more information, and audio tracks.

Anthony H. Close - Sense Datum
We now turn the spotlight on a new pioneer of the dance scene, Anthony H. Close. Performing as Sense Datum, Anthony is the first person in the world to have a weekly residency at a club, performing live techno. His live act has been featured every Saturday at Club Nocturnal in Fort Wayne, Indiana for more than a year.

Tell us more about your live shows.
The style would be classified as organic techno which I feel is my own style. This is because I keep all my drum machines in step write mode and basically "freestyle" my way through the set. I go into the show with absolutly nothing pre-programmed. I also don't use any computer-based software. I think that it draws away from the "real" live PA. from back when it started. I try to focus on my roots. If I had to describe it though, it would be like mixing detroit techno with acid trance/breaks. Future Retro comes into my set by providing what I consisder to be the best monophonic on the market. The 777 is absolutely AMAZING, what this thing does just blows my mind. I believe I'm the first to use two 777s and a Mobius in my live set. It's mind boggling. The 777's sounds are just subliminally amazing.

Where did it all begin for you?
Its was weird how I got into the whole scene. I heard about raves in probably the 7th grade but didn't get into it until I was 16. I'm now 20, so I've been in it for about 4 years. I started spinning records when I was 16. I sold my tables because I saw Green Velvet play live in chicago, it changed my view on music. I later was "sold" on doing live PA when I saw Richie Hawtin at Interstellar Dreamfest in St. Louis. I have always loved music but my passion for digital music is the strongest thing I have ever felt in my entire life, in fact I believe besides school, it is my life.

Do you have any releases available to the public?
As far as labels, I am not signed with any one currently but if I were to sign it would only be under an underground label (unless it was Virgin). I have a problem with corporate sellouts! I am getting ready to release a CD titled "Mutatus Mutandus" which, in Latin, means "with all necessary changes".

When not performing at club Nocturnal, Anthony takes his live act to various raves in the US. For more information on Sense Datum, and bookings please visit the web site www.sensedatum.homestead.com, or send email to close909@hotmail.com.

Would you like to be in the spotlight? Email us at: info@future-retro.com
and let us know how you use our products.