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life can dance interview mix a-tweed not so obvious

Interview A-Tweed + Not So Obvious Mix

The 9 key points of Life Can Dance

1. Place of origin, where you were born and where you currently live. 3 places you love in the world.

I was born in Campobasso, the Teruel of Italy (they say it does not exist) in the region of Molise (Molisn’t) 🙂

Now I have been in Rome for 7 years after living in many cities in Italy and also in Spain (Granada).

The places I love the most in the world? Surely the Highlands in Scotland, Naples and its madness and also everything related to the Iberian Peninsula and Latin America.

2. 5 things you love passionately, 5 things you hate.

Love:

my girlfriend Serena, doing roadtrips by car, pregio wine, synthesizers, Napoli football matches

Hate:

the unmotivated hype in the music, the very strong smells, that they judge me without knowing me, the food that has vinegar, the traffic of Rome

3. What motivates you to compose music?

I’ve been a DJ for many years but very few as a producer, the truth is that if I like something I become a super nerd right away. So this happened to me with the production of electronic music, I started little by little and now I can’t stop. Also with the lockdown theme I had the opportunity to study a lot and improve myself and it was the best thing I did in my life in recent years together with quitting smoking 🙂

4. Top 5 of your artistic influences.

Tom Waits, Talking Heads, Kraftwerk, Depeche Mode, Fela Kuti

5. Top 5 songs you love.

Steely Dan – My Old School

John Martyn – Over The Hill

José Larralde – Quimey Neuquén (Chancha Vía Circuito remix)

Kraftwerk – Europe Endless

Aaron Neville – Hercules

6. Tell us about your latest release. Motivation and musical concept.

“Pahoehoe” is an EP dedicated to all the elements of nature that fascinated me as a child, I always went with books that talked about volcanoes, dinosaurs and geography atlases. It was my way of traveling and giving freedom to my curiosity. And now when I started making music I told myself that all this could have been a cathartic way of recovering childhood and all the interests that over time I had to give up a bit for study and work.

The truth is that it is something that is sitting very well for me and musically I love playing with different styles, crazy percussions and synthetic modulations that however seem to have something to do with nature and organic sounds.

Maybe soon I’ll make another album recovering another song, I love concepts 😉

7. What do you hope your artistic work will give you back?

More passion and curiosity. I feel lucky enough for what is happening to me and I just want to continue like this and learn more every day.

Well, I’m really looking forward to playing live and I hope to be able to play at festivals and clubs soon, yes 🙂

8. A book that you recommend.

Barney’s version of Mordechai Richler

9. What is the meaning of life?

“Love is the lesson to learn in our time” said John Martyn in the song “May you never”, I think so, because it might seem obvious and banal, in the end love is the true meaning of life.

NOT SO OBVIOUS #008

teniente castillo play pal interview life can dance

Interview Teniente Castillo – Play Pal 8th Anniversary

What are your musical roots and how did you come to electronic music and want to be a professional DJ?

I have listened and do listen to many different styles of music, I like classical music, soul, some jazz, rock & roll from the 50’s and 60s, disco from the 70s, all the ‘synth wave’ and post punk current from the 80’s, a lot of pop and rock stuff too, I listen to practically everything.

And as far as electronic music goes to, I always liked dance music but it was in the early – mid 90’s when I definitely saw it was the kind of music that really caught my attention. coinciding with one of the best moments, if not the best, of the scene in Madrid, in terms of clubs, sound systems, dj’s, music. The curiosity about being a DJ, I think I had it even before I knew I did. It was what caught me the most. I soon started buying vinyl, from there to wanting to know how to mix them and from there to taking the leap of doing it in public

How did you get to the sound you wanted to develop as a producer and how was Play Pal Music born?

Naturally, within the limitations of learning on the fly but trying to apply the same filter and taste I have for music in general and also as a DJ, to what I’m producing, and understanding it’s a process that never ends. As in everything, you improve with the hours spent but the progression and learning are constant.

Play Pal was born from a personal inquisitiveness to do more things related to electronic music, from having met many artists over the years and from the desire and possibility of publishing new music. Also from having worked in distribution at a vinyl store in Madrid and have gotten to know the industry from that side.

How would you define what you do with the label?

I publish music I like, regardless of whether it is from someone more or less known, although I do usually work with the artists with whom I have the most personal affinity. Nor pay attention to what style or subgenre the tracks are, we publish music to listen at home or in the car, music to play at clubs at the beginning of the night or at the end, there is room for almost everything, within the sound or sounds of the label.

What was it that you got from having your own label in these years?

Especially having met many artists, some already friends, with whom I have been able to share a showcase or do different types of collaborations and also the pleasure it gives to publish and share new music that people from all over can enjoy and follow what it is being released.

Recommend 5 of your favorite tracks and they don’t have to be electronic music

1) Dire Straits ‘Brothers in Arms’

2) Beethoven Piano Concert Nº 5

3) Ray Charles ‘Georgia on my Mind’

4) Antenna ‘Song For Udmurtia’

5) Röyksopp ‘The Alcoholic’

What does it mean for you to produce music, mix it live and make people dance?

Connecting with people when you are playing music, having the same feeling and prolonging that connection and journey for hours, is one of the most stimulating things I have experienced in my life. The feeling you get making music and seeing it reaches people, is similar or even greater, because you are creating something that did not exist “5 minutes ago” and that “something” is causing an emotion in other people.

How do you see the future of the electronic scene, do you see light at the end of the road?

Yes, totally, it seems that as of this summer they might let us work with restrictions and by autumn-end of the year we’ll practically be functioning normally or almost. Let’s hope nothing else happens because everyone is already too on the edge.

To celebrate the 8th anniversary Play Pal put together a two volume compilation, choosing thirty tracks they feel sound as good today as ever and which have helped define the sound of the label during these eight years.

Hope you enjoy the ride through out these eight years of music.

Yu can Buy the music at Play Pal Bandcamp

Inside Out After Altamont interview premiere life can dance

After Altamont interview + A Strange Wedding remix premiere

After Altamont is the band alias of the London-based Greeks Stevie R and Parisinos. Back in 2017 they released the debut album An Animal Orchestra, introducing an amazing blend of psychedelic rock, Greek folk influences, dub and techno. Now, almost four years after, they present an amazing Remixed EP with some of the most talented artists of the scene like Zombies in Miami, Tolouse Low Trax, Mr. TC, Anatolian Weapons, Gina Breeze and we premiere the A Strange Wedding remix for the track “Scoring for Fools”

Buy it here

Out 19th Feb

We had a lovely chat with the rising star label honchos of Inside Out Records. Let’s see what they have to tell us. 

Hello guys, first of all we would like to know more about the After Altamont project. When did you start? What were you thinking at that moment? And why did you decide to release a remix pack four years after? 

Stavros – After Altamont was a band / alias I originally imagined in 2014 alongside Towdie Kamp, aimed at having a creative output for more experimental, psychedelic rock music, not necessarily bound by the rules and restrictions of club music. The music was created from analog electronics, live instrumentation & vocal recordings. We fuse elements of soulful trip hop, psychedelic rock and techno, blended with traditional greek folk music. The band organically stopped making music after the album (although we are all close friends); this project was re-imagined after I met Constantinos, when we started making music together last year. 

Constantinos – I met Stavros in 2018 and since then we share a very special friendship but we also have a great musical connection. We have been making music together for about a year, as Stevie R & Parisinos but also After Altamont. We decided to continue the After Altamont alias as its root idea is something that attracts both of us; we will be using this alias for our more experimental music and live performances, aiming to bring diverse sounds and visuals together. 

This EP has an exquisite line up. What’s your goal with it? 

Stavros – After a late-night jamming session earlier in the year, we were listening to the original album (that took almost two years in the making), and remembered some of the great sounds, hard work and recordings that went into that project. We decided that very night we would invite artists and friends we admire to add their own hypnotic grooves and touches on the original tracks – Constantinos led this vision and remix project and we are really proud of the release and these re-creations. 

How is your creation process as a duo? 

Constantinos – This has definitely changed during the pandemic, since before this crazy year jamming sessions for the initial ideas were very frequent. Stavros is the more technical and musical of the two, being a sound engineer and musically trained. He usually focusses on the sound design of interesting textures and initial recordings of Greek folk melodies using live instruments and vocals, and I usually focus on the arrangement and work on the groove, percussions and sampling. Then there is usually multiple sending and receiving of dropbox Ableton files until both of us are happy (we are both perfectionists with the music); we like to meet usually for the final mixdown, or at least both be happy with it, and then Stavros does the final mastering at the studio. 

What’s your favourite synth and why? 

Stavros – This is an impossible question, but we use the Sequential Circuits Prophet 6 and Korg MS-20 probably the most. 

I feel that anything I say about the Prophet won’t make it justice. The fact that it has the heart of a Prophet 5 and is further enhanced with modern characteristics speaks volumes. It is by far the most ‘expensive’ sounding synthesizer I have worked with; its versatility and tonal quality is second to none. As Sound on Sound said on their review “it’s surprisingly versatile and sounds a million dollars”. That really sums it up. 

The MS-20 is a very different beast; pretty much the opposite of the Prophet in terms of character. ‘The lady and the tramp’ comes to mind when thinking about those two next to each other. But we’ve had good times with the tramp.. It’s fair to say that it still is my most used synthesizer. It is nasty, aggressive, unpredictable and when you push it just the right amount, it will give you those tones that you can’t really get from any other machine and those who know will say ‘that’s an MS-20 right here’. 

Constantinos – In terms of drum synths, the Vermona DMR1 MKIII has a special place in our heart, and we have a Pulsar-23 from Soma laboratories on the way! 

Let’s go back a bit. How and why did you create Inside Out Records? 

Stavros – I created Inside Out Records as my imprint way back in 2012, with a focus to always promote young artists and underground music, independent of genres. In January 2020, Constantinos joined the label – apart from a brotherly friend, he is an obsessive record collector and tastemaker, and since then, we have continued to release sounds that keep pushing sonic boundaries but took a decision to really focus on experimental music that challenges the listener. We always like working with friends and nice people too and want to create lasting relationships with other artists, it makes the hard work so much more worth it.

We return to the present. What has been your favourite dish in these times of quarantine? 

Stavros – I love “Gemista”, cooked by my wife, a Greek dish, cooked vegetables stuffed with a mix of rice and herbs. Constantinos – I will always go back to a freshly grilled fish, garnished with olive oil, lemon, and garlic; reminds me of my home and the sea in Cyprus. 

What music are you listening to at home nowadays? 

Stavros – I have always listened to non-club music at home, mainly progressive rock and old Greek folk music. Nothing has changed over the years, I still listen to these genres for personal pleasure. 

Constantinos – I listen to music whenever I possibly can, across also genres. I tend to dig through discogs, youtube and bandcamp these days and support as many artists as possible. I am interested in slower rhythms, interesting percussive textures with break patterns, so I am naturally attracted to artists such as Tolouse low Trax, Vladimir Ivkovic, MR TC, Lena Willikens, Alicia Carrera, Black Merlin, Andrew Weatherall – too many more to name. 

If we take a look on the label releases and your own productions, psychedelic textures and experimental soundscapes seem to be two strong concepts. What is your source of inspiration beyond music? Writers? Visual Artists? Film Directors? Mushrooms? Everything is possible here. 

Stavros – For my music projects, and particularly for the After Altamont project, the “inspiration” were paradoxically my personal life challenges during the time of the recordings; somehow those difficult times turned into creativity with an album that people may hopefully enjoy listening to. 

Constantinos – I am really inspired by artists in the true sense of the word, who want to create experiences that use sound, light, art, and movement (or all of these together) to create a mesmerising transcendence. I found contemporary dance performances composed by Hofesh Shechter encapsulate all the above. Berghain as a space, a community, and what it represents will always be a personal inspiration. 

Finally, what news can you tell our readers about what’s coming in your projects? 

We are preparing an After Altamont album this year as well as setting up a live performance for when the pandemic is finally under control, ongoing projects as Stevie R & Parisinos too, so it will be a busy few months!

You can listen all the Inside Out Records music here

Notes Life Can Dance Interview Thomas Von Party lfcndnc

” Trying to figure out how to get some community projects off the ground”

Thomas Von Party x Life Can Dance

Hello Thomas, first we want to ask you about the last thing you were cooking in the studio. Although this is your first mini LP I have heard that you do not like to take it as your debut album, why? When will that long-awaited debut take place then?

I suppose I see it as another concept collab record, kind of like Salsa Fingers or Drugface. The idea with Party Central was to release a lot of my different novelty musical ideas and I think at heart I don’t think in terms of ‘albums’ as a format and have always been more interested in the model of the label, Perhaps it’s generous toward myself / hubris to think that I have enough worthwhile music to create a label for it, but it feels more comfortable to release these little EPs than take seriously the idea of promoting one musical work and promoting it heavily as a big statement. I would probably get more mileage for my career if I just stuck on my identity as Thomas Von Party, but I’m more interested in musical creation being a tool to dissolve my identity, if that makes sense. I’ve been considering with the idea of making a proper album but I think more likely I’ll do a compilation at some point that feature all these different side projects.

What can you tell us about your guest in this launch, Mera De La Rosa?

I was introduced to her in Lima when I had a few days off and asked the promoter if he knew any vocalists I could work with. We hit it off instantly and had fun recording her and her son. I just had her try stuff over very basic drum loops and then basically sketched out 4 of the tracks during one plane ride with Inigo asleep two rows ahead of me. Anyways, she is a TV show host and a great personality – super fun vibe.

In this release, your Latin influence is very noticeable. How have your trips been around Latin America? What is your favorite place to visit and why? And your favorite clubs in the region?

I had always traveled to Asia and had been dreaming of traveling the Americas for years, so it was a great pleasure to tour in Peru, Guatemala, Brazil, Colombia and of course around Mexico in the past years. Each place was truly amazing and I fell in love over and over again with my hosts and with the warm and loving cultures to which I was introduced. It’s hard to choose favourites but my time with Guatemalan playboy Fabio Me Llaman Soltero was amazing, and hanging with Aristidez and his brother in Lima was also incredible. Of course Brazil and Mexico have special places in my heart. As for my influence, I think it’s generous to say I’ve really incorporate any legitimate latin feel, I would credit that to Mera for the most part 

You currently run 2 record labels Multi Culti and Party Central. What is it like to edit music in times of pandemic? How do you see the industry at the moment? Any advice you want to offer for young artists and new labels who are wondering what to do with this global situation?

Honestly I was super depressed for the first months of the pandemic. I was in a relationship with a girl living in Berlin and the pandemic took almost all our options away for a life together, all my touring plans were canceled, and the experience of quite radical self isolation for months was a big adjustment. I think that combined with a bit of burnout from touring and years of nightlife and I became a bit allergic to the whole thing. I couldn’t bring myself to post on social media and it felt like a moment for silence. I’m hopeful about the industry. People complain a lot about streaming but in many ways it’s much better than it was around 2009 when I was running Turbo and digital piracy was rampant. Bandcamp is amazing and it’s easy for artists to distribute their music while giving up a minimum of gross revenue. I think it’s more discouraging for labels. Spotify and Apple don’t even offer the ability to make a label landing page. At the moment with touring revenue gone I think it’s important for artists to not lose hope and try their best to use this time productively, even if that just means resting.

Let’s go back a bit. How and why did you create Multi Culti? Why with Dreems? and Party Central?

Multi Culti was borne of our friendship and it felt like a natural way for us to share certain ideas / aesthetics. There’s a lot of concern around cultural appropriation but I simply believe in the idea of cultural appreciation, and the concept was a nod to the plurality inherent in the postmodern soup of contemporary culture. Party Central is even more light-hearted and is really a clearing house for my own novelty projects. There’s an emphasis on FUN.

Together with your brother Tiga, you have managed to carry out one of the labels that has revolutionized electronic music of the new millennium, the famous Turbo Recordings. What can you tell us about that experience? Was it difficult working with your brother? how is your relationship? Are you currently working with him on the label?

I started working at Turbo when I was young and I worked very hard on building the catalog up (from Turbo 031 until around Turbo 145). To tell the truth, working for my brother wasn’t always easy and by the end I was ready to do my own thing. I think there was no way to grow the label without his involvement at every step of the way and he tended to be more focused on his artist career which kind of handcuffed me. We always shared musical taste and had a lot of great times working together, but I think we also started to diverge musically as he played more big festivals and I became more interested in niche underground parties.

Continuing with the family, with you and your brother, your parents have met two children who are passionate about music and who like to party very much. How has your relationship with them been throughout your career? Tell us an anecdote about your brother and you going out to party when they were teenagers.

I started going to raves pretty young where Tiga would be DJing and I wouldn’t even tell him I was going. It seems hard to believe now, but I remember the first proper rave I went to I didn’t even know where the DJ booth was… it was 100% about the dancefloor, the idea of the DJ being on ‘stage’ just wasn’t part of it.

We return to the present. what has been your favorite dish in these times of quarantine?

I’ve been really into this Nigerian dish, Joloff rice… has some nice scotch bonnet heat which I love. I like to fortify the original style with beans and add fried plantains on top. Super yummy.

In all your projects, psychedelia has always been present and I have read more than once your affinity for entheogens. How has your experience with them been? do you have any preference with any of them in particular? any crazy anecdote to tell?

Talking about psychedelics is hard. I do love them very much… mushrooms, acid and forms of DMT especially. I got started at a young age, doing a lot of mushrooms while most teenagers were drinking. All I can say is that I find them very helpful, insightful and humbling. It’s a useful tool to recalibrate the self, to see more clearly your place within the web of life and cosmos.

Finally, what news can you tell our readers about what’s coming in your projects?

I’ve been working on music in quite unstructured ways… couple of new remixes, a new Drugface EP, bits and pieces. I’ve been working on developing an ambient label called PLANTED and trying to figure out how to get some community projects off the ground but honestly, I’m trying not to pressure myself to decide or plan too much. It’s an uncertain time and I’m trying to relax and enjoy it. Multi Culti cookbook also on my mind!

Thomas Von Party teams up with Dominican singer / TV presenter / personality Mera De La Rosa for a mini-LP of left-field Latina-enhanced dance tracks, backed by remixes from Calypso’s Thomass Jackson, Guatemalan heartthrob Fabio Me Llaman Soltero, Multi Culti mainstay Mytron, acid-house masters DECIUS and Mexico’s freshest talent TYU.


BUY IT HERE
RELEASE DATE: 02/11

Career A&R man, Thomas Sontag was born into DJ royalty.

His father was proto-trance / industrial Goa party organizer Dr Bobby, and his brother is none other than the godfather of Montreal rave, Tiga. Thomas learned to DJ at 13, earned his chops working at Montreal’s era- defining DNA Records, and spent a solid decade curating well over 100 releases for the titanic Turbo imprint. A mainstay in Montreal’s thriving electronic music scene, he’s also an international music bizz magnate.

In 2014, he took a year to peer into the future, launching algorithmic mastering engine LANDR at the same time as he opened ‘Datcha,’ now a beloved fixture in Montreal’s nightlife scene, where he acts as sole resident and talent booker, showcasing his wide-eyed vision of dance music. His online radio show ‘Multi Culti Transmissions’ archives incredible selections and a whole lot of stoned banter.

Original productions like Pygmy Funk, Cobra Kush and Wet Raga have earned him plays from the likes of heavyweights Dixon and Harvey, and new productions are on the way, both for Multi Culti and his new label Party Central.