The Unborn Series : Paper Samurai
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Note: Recorded live on Seven channels using an G4Imac 800mhz (1G Ram) OSX3.9, Penny & Giles MM16, Novation Remote 25SL, Lacie D2 extreme RAID, Focusrite Saffire, Shure E5 & Kensington Expert Mouse Pro.
Tracklisting
Colin C – Untitled – [Artist MP3] with Riko – Tokyo with (Original) – [Toes In The Sand] with V-sag – Redemption – [Local Underground]
Hybrid – Just For Today – [Distinctive] with Riko – Tokyo (Original) – [Toes In The Sand]
Colin C & Jason Calvert – Touching The Ether – [Artist MP3] X4
V-sag – Redemption – [Local Underground]
Marek – Lullaby – [Swift] with Colin C & Jason Calvert – Testing The Either – [Artist MP3] with V-sag – Redemption – [Local Underground]
The Funky Badgers – Liquid Crystal Vision (Original) – [Nervine] with Riko – Tokyo (Original) – [Toes In The Sand]
The Last Atlant – No Exit – [No Smoking] with The Funky Badgers – Liquid Crystal Vision (Original) – [Nervine]
Riko – Tokyo (Original) – [Toes In The Sand]
Jiva feat Rula – Timelapse (Original) – [Pure Substance] with Riko – Tokyo (Original) – [Toes In The Sand]
Shiloh – Vista Cruz – [Baroque]
Lexicon Avenue – Why R U Here (Erphun Vandalist Remix) – [Artist MP3] with Shiloh – Vista Cruz – [Baroque] with Shiloh – Vista Cruz – [Baroque]
Tom Pooks – Pablo Assans (Original Mix) – [Kompact Extra] with Lexicon Avenue – Why R U Here (Accapella) – [Forensic] with Lexicon Avenue – Why R U Here (erphun vandalist remix) – [Artist MP3]
Jiva feat Rula – Timelapse (Moonbeam pres Glockenspiel) – [Pure Substance]
4ever19 – 4ever19 – (consoul mix) – [Artist MP3] with Jiva feat Rula – Timelapse (Moonbeam pres Glockenspiel) – [Pure Substance]
Sander Kleinenberg – Right Time (Audio Therapy Web Edit) – [Audio Therapy] with 4ever19 – 4ever19 – (consoul mix) – [Artist MP3]
*Various re-edits, nips tucks and samples/loops used throughout*
Biography
“My Mom, Vangelis, Ennio Morricone, Giorgio Moroder, Hans Zimmer & Jean Michelle Jarre are easily my biggest influences”. It’s a typical remark from Marcus, who would much rather talk about what music he’s playing, than the way he is playing it, or manipulating it with technology.
Being into Progrock, Sountracks, Hip hop, early Electro and German/Detroit techno for several years, Marcus’ musical pallete changed little until he discovered progressive house, played to him by a very famous DJ’s sister that he befriended while at college. On hearing this new sound from DJ’s like her brother (who was the Don IMO), John Digweed, Ian Ossia, Dave Seaman and Nigel Dawson, he was sold.
Jump forward four years to 1997 and acquiring his first and only set of turntables to date (Technics 1200′s mk2′s), he set out to learn how to mix/layer records & program sets to the benchmarks set him by most of the above names. Starting out playing mainly US vocal house (proper Garage – Larry Levan Style!) and drawing influences from DJ’s like Paul “Trouble” Anderson, Masters At Work, Frankie Knuckles, Satoshi Tomiie, David Morales, and of course, Tony Humphries (the daddy at mixing vocals!). His early classical training in music alongside learning to mix vocals did his mixing skills no harm at all, and inside 14 months, was one of the residents at the Powerhouse in Oswestry (home of Matthew “King Unique” Roberts Delicious residency). This old church had a 14K rig when he played there, and is where he learnt his craft on the off week of Delicious.
In 1998 he returned to playing a more diverse sound fusing Progressive house and Trance, and the growing break-beat sound developing in the UK at that time also influenced him, and still does to this day. 1998 was a good year for him as he was invited to play on a local pirate radio station that broadcasted for 2 years, he was a stalwart of the station and had his own show on both “Fat” Friday, and the Saturday, called the “Score”! It wasn’t uncommon when other DJ’s went home for Marcus to be still there till “6 in the mornin”.
The start of 1999 saw Marcus reading for an HND in Sound Engineering which was to have a massive impact on his life in years to come, teaching DJing, basic music technology to school kids, and more recently, specialising in Ableton Live software.
2003 – 2005 saw Marcus promoting Scott Bond’s ‘Ahead’ night, building up many useful industry contacts, and gaining valuable promoting experience. A chance meeting, and later friendship, with VJ SteveG saw Marcus invited by Steve to help front a new audio-visual night called ‘Future’, promoting visuals as a equal partner to the music. ‘Future’ caught the imagination of many people in the music industry and manufacturers alike, resulting in Marcus being asked to launch the DJM800 mixer by Pioneer at the ‘Future’ opening event in Sheffield in parallel to James Zabiela’s launch at the Key, and Sankeys Soap, in February 2006. Around the same period Marcus’ skill with Ableton Live caught the attention of Novation/Focusrite, with him being asked to join the Novation Beta testing team for the new Remote SL range. Marcus has performed alongside artists as diverse as Omid16B, Scott Bond, Matt Hardwick, Tom Stephan, Dan Tait, Addictive TV, Ben Lost & DVJ Kriel. His ‘Bushido Broadcast’ has also seen him showing support of many top international DJ’s & producers inclusive of Omid 16B, V-sag, Andrew K, Bobby Deep, DVJ Kriel & Andy Newland.
Marcus is active in both the Release & Critical Rhythm records pools alongside many lists, and is currently performing for Novation/Focusrite, Ableton & Shure at events with their equipment. He has Engineered both Jonathan Lisle’s Kiss100 May06 mix for John Digweed’s Transitions show, along with many of the Ableon Re-edits used by Jon on his cover mount CD that accompanied ‘The Art of Modern Mixing’ article in April/May’s 2006 DJ Magazine.
One of the key members of the team over at www.abletonlivedj.com as their music tech editor, and as one of their forum moderators, he has been testing gear from many of the top manufacturers in the Music tech, Pro Audio, Computing and DJ sectors.
Marcus now runs the ‘Progcast” for ProgressiveHouse.com – www.progressivehouse.com/progcast.php featuring weekly mixes from established DJ’s, giving focus to producers that have artist albums out, and offering new talent a much needed platform to let their skills be heard.
“I describe the music I play as ‘Soundscaped vocal progressve dance music’”, says Marcus. “I always try to play the records that are about at the moment that inspire me the most, and enrich my life. I hope, in turn, they enrich you’re life and inspire you!”
The Unborn Series : Out Of My System
Posted by InfamousLight | Filed under Infamous Podcasts, The Unborn Series
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Tracklisting
Kirk Degiorgio pres. Esoterik-Starwaves (Spirit Catcher’s Time Modulator Mix) [Freerange Records]
Tomic – Breathless (Original Mix) [Stripped Digital]
Quintek – One Flew Over (Original Mix) [Vapour]
Drive Feat Luci Arundel – Stay (DJ Tarkan And V Sag Remix) [No Smoking Recordings]
Emze Hack – The Beginning (Nick Hogendoorn Eelke Kleijn Remix) [Tilth Music]
DJ Bia-The Double Reason (Original Mix) [Segment Records]
Ciaran Reilly-The Way It Goes (Original Mix) [Melodica Digital Recordings]
DJ Bia-Dedication II (The dub mix) [Segment Records]
Matthew Dekay and Roob V – 2 Da Groove (Original Mix) [Solar Recordings]
Group Therapy – Thumbsucker (OOMS Barking Dog Re-edit) [Audio Therapy}
Havanna - Shift (Mix 2) [Limbo]
Biography
Some areas of hypnotherapy work on the premise that while your concious mind is focusing on the louder, more obvious sounds, your subconcious is sitting listening to the parts you’re not paying close attention to. Meditation tapes have being using this technique since the 70′s, meaning anyone too busy to go and see a shrink, can learn to quit smoking just by drifting off to sleep with a self-help tape playing. Sounds cute, but it works. Mark Delaney, the UK-based producer behind Out Of My System, thinks this is really cool, and maybe something he can have some fun with.
Beginning his DJ career in the early 90′s, Mark’s love of repetitive beats and the early rave scene steered him towards pirate radio where he hooked up with the North-West’s ZEE 100 station. As part of the burgeoning Liverpool club scene, and the station’s expanding reach, ZEE 100 attracted the attentions of the authorities resulting in several raids, confiscated equipment, and fines all round. It was at this point that Mark shipped out to Greece where he held a 3-year residency at Future, Corfu, before returning to the UK with the intention of doing “a proper job”, albeit, one with less free beers. Quietly maintaining a life on Civvy Street, it was the emergence of Ableton Live that served as the catalyst for Mark’s return to music full-time. Witnessing the backlash that some were receiving for DJ’ing with Ableton on the net, he was quoted as saying at the time, “..if Sasha’s championing this thing as the future of DJ’ing, then it’s got to be worth a look. Who am I going to pay attention to? Some guy on a forum who I wouldn’t know if I fell over in the street, or a DJ I’ve had some of the best times in my life listening to….?”.
In late 2005, Mark set up www.abletonlivedj.com, a site dedicated to, in his words,’the next wave of digital DJ’ing’. Mark’s reasons for putting the site together was to have a home where the focus was DJ’ing with Ableton Live, store all the great info that gets lost from the official forums, and hopefully, make contact with the future digital DJ’s, producers, and labels that we’ll be listening to for years to come.
Out Of My System is a fitting moniker for the sets Mark produces. Partly a tounge-in-cheek reference to his beefed-up, and much-loved studio, but more tellingly, a description that could be applied to a life-long fan of dance music, who is compelled to play his part, and literally, get his music out there.
“My mixes have always used speech samples to complement the music, which is something I’ve done ever since hearing “My Life In the Bush of Ghosts” by David Byrne and Brian Eno. It originally came out in 1981, but I only came across it in 1990. It’s a collection of tracks interspersed with ‘found sounds’. Thats what they called snippets of vocals they’d come across that they used to back this album of fantastic music with. From samples of crazy preachers, to disgraced politicans, and even an exorcism, they produced an album that’s got me baffled how they came up with considering the equipment back in 1981. It’s like the pyramids. This podcast covers some fantastic tracks that are about right now, and one all-time anthem for me, backed with movie samples, self-help therapy tapes, and random weirdness from the internet. Hope you like it.”
The Unborn Series : Tzusing
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Tracklisting
dabrye – Payback (Prefuse 73 Megamix) – Ghostly International
dieb – schnel – Citymorb Music
tzusing – possibly (remixed)
actual jackson – Sequential Circus (marc houle remix) – Minus
raymond scott – twillight in turkey (comes and ends before track 6) – Basta
slam ft dot allison – kill the pain (marc houle remix) – Soma
dj koze – brutalga square – Kompakt
vocal sample of Boots Riley off politically incorrect tv show.
funk dvoid + phil kieran – blackworm – soma
petter – freak and love – Deep Focus
tiefschwarz -ghosttrack (blackstrobe remix) – Four Music
todd osborn – bout ready to jak – Spectral Sound
atom heart – fumes:jax 2000 – Logistic
rend – inept – Plong!
t.raumschmiere – koeing shuffle – Shitkatapult
hiphop group dead prez samples – Loud
james t cotton – buck! (Reinhard Voigt Remix) – Spectral Sound
The Coup – 5 million ways to kill a C.E.O. – 75 Ark
Audion – uvular – Spectral Sound
a. Cid – mission – Resopal Schallware
matt tollfery – the horn – Crosstown Rebels
bear back – deep space galaxy mama – Tuning Spork Family Affair
slabb- instead (ark remix) – Relax Beat
daypak padberg – soulback – Mo’s ferry prod
heartthrob – thrill – Minus
vivianne project – holes – Textone
dmx krew – echlon – Rephlex
john tejada – paranoia – Palette Recordings
marc houle – east west – Minus
starski n clutch – east west – Databass Records
phoenix – too young (zoot woman remix) – Virgin
Biography
Where does the maximal and minimal coincide? What is the arc that traces every entity and remains itself untraceable?
Tzusing rejects music as a solution but embraces it as an experiment. There are no test cases, no controls, no statistical mean. Against the investigation of static entities, the point is rather the construction of new possibles.
Indeed, as an experimental project itself, Tzusing’s life is a series of non-convergent magnitudes, with geographical lines tracing the acceleration of Shanghai with the fragmentations of exile life in North Borneo, from the quiet of San Diego’s suburbs to metallic vibrations of Chicago’s EL.
In a first encounter with the global phenomenon of Michael Jackson, this hybrid of black American music as well as the technology of reproducible copy, the magnetic tape, provided an experience that rendered other activities obsolete. Here it was, appearing before him in its ridiculous sublimity, plastic with magic in it.
Living in the stateless state of Taiwan, new directions were forged by none other than the ubiquitous MTV. MTV then, became not reprehensible as a façade of western commercial music, but is rather commendable because of it. The juxtaposed sequences of sounds and video formed the vectors of Tzusing’s music consciousness. Any random sample of MTV Asia might be revealed to include a sequence of super-bubblegum canto-pop, white suburban heavy-metal, ghettocentric rap from Compton, Reggae from the UK, no recursive function can be drawn to account for such properties. The hyperfluidity of Tzusing’s early “listening” sessions at home provided thus for the schizo-multiplication of musical interests and direction.
With the 00’s came a number of major encounters. Early exposure to the music of Steve Reich gave expression to the sorts of experiments that Tzusing could not resist immersion within. Moving finally to North America where he still resides, the emergence of techno in the burgeoning Chicago scene, through Magda, Tadd Mullinix, Diplo, and Theo Parrish provided the key influences for the present set of constructions and elemental forms.
At the present stage of the experiment, Tzusing attempts to prepare species of the minimal techno sort. But undoubtedly, the present arc is far from hygienic. Sources from hip-hop, rock music, and the occasional samba line condense within and without Tzusing’s mental states. The future will inevitably include multiple transformations, each as fluid as past and present lines.