Monday, October 09, 2017

Dopplereffekt live in Dublin and more

To tie-in with Drexciya's inclusion in The Ocean After Nature exhibition at Dublin's Hugh Lane Gallery, Dopplereffekt will be playing a live performance there on Saturday 25th November. This very special and fully seated event begins with a talk about Drexciya by myself and Richard Brophy aka Richard Be (First Cut), one of the few journalists to have interviewed James Stinson twice. There will also be a performance by the artist and musician Sharon Phelan. You can see the very 2001: A Space Odyssey gallery performance space in image below. More details, including where to book tickets (be warned there is a limited capacity) are to be announced on Wed 10th October on the Facebook event link. Its been a long 9 years since Dopplereffekt have played in Dublin (although Arpanet did play there in 2013).

Dopplereffekt will be playing at this Afrofuturism event (9th-12th Nov) in Athens, Greece on a bill that includes Sun Ra Arkestra, Actress and A Guy Called Gerald and many more. Abdul Haqq, who did Drexciya's Neptune's Lair artwork, is also listed as a guest speaker. If you can get to this event, go.

You can watch Dopplereffekt's entire recent performance at Boiler Room in Bogota, Colombia at this Facebook  link. You willhave to search for their video, which is excellent and the audio is pretty decent too, with loads of unreleased stuff. I'm not sure how long this video will stay up so grab it while you can. DJ Stingray played next and he opened with Drexciya's 'Cascading Celestial Giants' from Grava 4.

This is a very professional video of Dopplereffekt live at Scopitone in Nantes, France recently. Looking and sounding very good.

Monday, September 25, 2017

New Heinrich Mueller/Beta Evers track, live dates and tributes

'Innerhalb Der Zeit' is a new collaborative track from Heinrich Mueller and Beta Evers (Zwischenwelt/Gedankenexperiment). It is included on a split 12" between Beta Evers and Spatial Relation on the Peripheral Minimal label. You can listen and buy the download at this link. The vinyl is limited to 300 copies and is out now.
The track is pure ice! I found the following review of it, "The side ends with the even gloomier "Innerhalb Der Zeit", a beat-less piece of hazy and slightly disturbing music, featuring Heinrich Müller from Dopplereffekt and sang by Brigitte, completely in German."
"I wanted to create something that showed my massive love for their work," said the Dutch producer, real name Vincent Koreman. "I wanted to imagine what would happen after the underwater race would reconquer Earth." Drvg Cvltvre have an upcoming Drexciya inspired EP, details here.
Dopplereffekt will be making their live debut in South America on 28th September when they play Bogota, Colombia at Boiler Room. DJ Stingray is also on the bill too, details here
I think its been a good few years since Dopplerefekt have played in Norway. Norwegian fans will be happy to hear they are appearing at the Insomnia festival in Tromsø, which runs from 26th to 28th October.
Arpanet will playing live in London on 13th October. Support comes from Intergalactic Gary and the great Alex Downey. Looks like a good night.
If you are missing Zerkalo, Victoria Lukas now has a new project, SVYAZ, with Christoph De Babalon. There are two brilliant tracks to listen to at this link.
I was sent a link for a new James Stinson/Drexciya tribute page, made by an Italian fan, Andrea Benedetti. Check it out!

This is a recent tribute mix to James Stinson/Drexciya by Nitetrax to mark the 15th anniversary. Well worth a listen. 

Radio Red in Puerto Rico have uploaded a new mix show with various tracks from Drexciya's Storm Series.

This DJ mix is from a few years ago, it's made up of just the The Other People Place album tracks. It was made by CPSmith, producer and label boss of Sheffield's Central Processing Unit label.

Friday, August 25, 2017

James Stinson Tribute Events, RubaDub Archive and more

There are now 5 confirmed James Stinson/Drexciya tribute nights. There is one in  London on 2nd Sept, Manchester on 2nd Sept, Rome on 2nd Sept, on 4th Sept an online radio show, Teknology based in Detroit, one in Birmingham on 7th and one in Dublin on 8th Sept. I've edited together a video that might be useful to project as visuals in case anyone wants to use it. This year will be his 15th anniversary and fans have taken it on themselves to do something to mark this. I hope they all go well and if you can't get to go to one maybe just listen or share some of his music instead.

There is a new Dopplereffekt live show announced for 28th October in Manchester, England.

Das Heise Experiment 2 - The Prequel by The Exaltics has shipped. Heinrich Mueller, under his Rudolf Klorzeiger alias, collaborated on one of the tracks. The picture disc is limited to 500 copies and is sold out on Bandcamp but in early September copies will also be availble in stores. You can still order the digital album and listen to samples at this link.

The Ocean After Nature touring art exhibition, which features artefacts of Drexciya alongside work by The Otolith Group and many more reaches Dublin City Gallery The Hugh Lane in early September. On 6th September at 5pm there will be a talk by its curator Alaina Claire Feldman followed by its opening reception. The show runs until 7th January 2018. 

I've been kindly sent some images from the RubaDub/Club 69 archives. The first image is a very rare poster from Underground Resistance's Interstellar Fugitives tour, which only touched down in Paisley and London in November 1998. The second image, an adapted piece of Drexciya insert artwork, served as the ticket for the night. I don't think they have been shared online before. The poster was designed by Mad Mike himself.

Also originating from the same archives, on an Instagram account of Mark from RubaDub, I've previously shared this Drexciya Q&A from Energy Flash zine from 1996 on DRL before, but this is the first time I've seen the original pages.

Friday, August 04, 2017

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

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

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

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

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

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

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

Saturday, July 15, 2017

Jack Peoples, James Stinson 15th anniversary and more

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Thursday, June 29, 2017

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

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

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

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

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

Sunday, June 04, 2017

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

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

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

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

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

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

De:Bug: Who says you have to?

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

De:Bug: Did you ever come to Europe?

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

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

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

De:Bug: What kind of music was that?

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

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

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

De:Bug: who really is your partner?

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

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

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

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

De:Bug: But segregation was at least before.

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

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

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

De:Bug: What can you do?

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

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

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

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

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


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

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

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

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

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

What does a digital tsunami feels like?

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

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

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

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

Not to say that their projects are bad.

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

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

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

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