Sunday, December 26, 2010

My top 10 CD albums of 2010.

2010 another great year for electronic music, while the DJ charts and digital download stores where hyping up some rather dull flavor of the week techno and house etc but if you looked outside of these areas there are still artists and labels releasing some breathtakingly emotive music.

Ambient music in particular made a fairly healthy return, often popping up in well known DJ's podcasts and charts. My chart isn't in order and I emitted digital only releases from my top 10.

1)Thomas Köner - Nunatak • Teimo • Permafrost [Type]

Apologies for including a reissue in my chart but these three early releases from Köner have that timeless quality which sound like no other ambient from the early to mid nineties, no movie samples, twiddling bubbling synth sequences, water or whale samples, just pure unidentifiable drones shifting and morphing with hauntingly beautiful results..

2) A Guy Called Gerald - Tronic Jazz The Berlin Sessions [Laboratory Instinct]

Manchester's finest returns with another stunning collection of techno tracks with that unique Gerald slant, alien afro future funk of the highest order which truly separates him from the rest of the techno clones..

3) Bvdub - The Art Of Dying Alone [Glacial Movements]

Brock Van Wey, has been gathering a rather large underground following with his CDR releases on labels like Quietus and Styrax etc, with his brand of stunning soundscapes, The Art Of Dying Alone is truly breathtaking from beginning to end a modern ambient classic..

4) Anodyne - corrosion [Psychonavigation]

Ireland's answer to Aphex, Muziq etc returned after a lengthy hiatus with his blistering sonic assault of breakbeats and techno with a rather apocalyptic flavor throughout, 2010 also saw the release of the remixes 12" featuring remixes from Autechre and the Black Dog which really put Anodyne and Psychonavigation on the electronica map..

5) The Black Dog - Music For Real Airports [Soma]

The Black Dog venture into the ambient arena with a title that got tongues wagging about it being a statement to Brian Eno's "Music For Airports" while Eno's concept was more about creating a calming mood for the traveller while waiting to depart the black dogs approach was more about creating a soundtrack using field recordings, drones, and emotive compositions that captured all the emotions which can be experienced in such places, from anticipation, stress, sadness, anger etc.

6) Mark Van Hoen - Where Is The Truth [City Centre Offices]

A beautiful collection of deep shoegazing inspired songs and instrumentals with dubby and glitched electronics and warm synths with touches of Marks avant garde edges. The album also features Neil Halstead of Slowdive amongst other guest performers.

7) Pete Namlook and Lorenzo Montanà - Labyrinth [Fax]

Another prolific year for Pete Namlook and his Fax label, with great collaborations between Pete and Move D and solo works like his "Pearl" series and the melodic "Permutations" but his collaboration with Italian IDM producer Lorenzo Montana really stood out with Lorenzo's intricate beats and soulful melodies and Pete's trademark ethereal synths made this a serious contender for album of the year..

8) Loscil - Endless Falls [Kranky]

I'm not sure what it is about the seductivness of Scott Morgans music, but he really is a master of subtlety, the tracks slowly evolve to reveal a haunting beauty and this is probably Loscil at his very best ?

9) Atom™ - Music Is Better Than Pussy [Rather Interesting]

Uwe Schmidt returned to top form after the disappointing digital scrap book of "Muster" with a tongue in cheek look at minimal techno, minimal yet deeply funky and experimental techno tracks with often hilarious lyrical content. also worth mentioning was his experimental ambient Li3835tra3um3 which featured some great ambient tracks which returned to similar terrain explored in "Dots" etc..

10) Sage Taylor - Rain Time [Pronounce]

A truly essential release that only one hundred lucky people will get to hear and I'm happy to be one of them. Based around a theme of rain, each track shifts into the next with the sound of rain running against glass and other materials the album delivers a deep sense of melancholy and emotions that only those wet home bound days can sometimes bring, stunning!!!

Wednesday, December 8, 2010

"Tron Legacy" Music by Daft Punk

On paper it may seem like an odd choice for Disney to pick popular french dance music producers Daft Punk to score their latest big screen epic "Tron Legacy", while its not Thomas Bangalter's first time to write and produce music for a full length feature, its certainly the first time he as been involved in a full on traditional score for a mainstream blockbuster.. In 2002 Thomas created a minimalistic score for Gasper Noes disturbing independent masterpiece "Irreversible" and recently for Noes latest "Enter the Void" mainly using uneasy drones to brilliant effect..

A few months back some previews of Daft Punks score hit the internet and one piece in particular sounded like a deeply atmospheric electro track in the vein of Anthony Rother/John Carpenter which really got my attention but hasn't actually featured on the soundtrack CD.

I was really hoping for maybe an almost ambient electro score from the french duo but as its turned out Daft Punk have had access to a full orchestra and have mixed it with moments of electronic minimalism, which may come as a shock or disappointment for those who were hoping for a full on Daft Punk album. While the score may not have the originality or stand alone listening experience of soundtracks like Thomas Newman's "American Beauty" or "Blade Runner" by Vangelis but it certainly has a few epic spine tingling moments.

A few of the traditionally orchestrated pieces worth mentioning are "Overture" and the deeply emotive yet short "Arrival" some of the purely electronic compositions that stand out are the rather excellent "End Of Line" which reminds me of John Carpenter and early Orbital. and the Lush mix of synths and strings on "Son Of Flynn" Other High points utilise a stunning blend of tough electro grooves and the trademark fuzzy Daft Punk acid sequences combined with stunning orchestral strings and horn swells on "Tron Legacy (end titles)

While most of the music fits safely into the Hollywood mould of action movies and at times you would be hard pushed to tell the difference between Daft Punks score or the work of say established Hollywood composers like Hans Zimmer etc, so there's no doubt that Daft Punk have succeeded in their first venture into traditional movie scoring and have blended the use of electronic sounds effectively to compliment the technologically advanced themes of the movie.

Overall the soundtrack stands up pretty well for a home listening experience with the exception of a couple of obvious action driven compositions which I'm sure will effortlessly blend in with the images depicted in the visually stunning movie and I'm sure that the score will certainly secure Daft Punk some future work in Hollywood but I wouldn't bring the "Tron Legacy" soundtrack to any party..


Tuesday, November 30, 2010

"Snow Drifting" a winter ambient mix by Mick Chillage.

Winter has arrived early this year, so I was inspired to create a new ambient mix.

Hope you enjoy!!

Download from Rapidshare

01 Mark Isham : Winter Again
02 Pete Namlook : Season's Greetings "Winter" [excerpt]
03 Lull : Sheet
04 Biosphere : Kobresia
05 Higher Intelligence Agency and Biosphere : Melt water [excerpt]
06 Peter Benisch : Waiting for Snow Part VI
07 Indio : Snow Drifts
08 Higher Intelligence Agency and Biosphere : Countdown To Darkness
09 Vangelis : Antarctic Echoes
10 Irezumi : Endurance part VII
11 Mark Isham : Tibet part II
12 Geir Jenssen : Tingri The Last Truck
13 Daniel Pemberton : Antarctica
14 Biosphere : Microgravity
15 Ennio Morricone : Humanity part II
16 Peter Benisch : Waiting For Snow Part V

Tuesday, November 16, 2010

Brian Eno "Small Craft On A Sea Of Milk" [Warp]

2010 really seems to be the year ambient goes overground again, with The Black Dog's "Music For Real Airport's" generating lots of well deserved hype and the unfortunate stellar disappointment from The Orb and David Gilmore's "Metallic Sphere's" and now we have Brian Eno's Latest opus which has been released on the legendary Warp records.

The album is available in various forms including a somewhat overpriced signed collectors double Vinyl/CD set, a double CD and the single CD which is being reviewed here.

"Small Craft On A Sea Of Milk" starts off with no real surprises for Eno fans, the first three tracks have that sort of haunted bluesy desolate soundtrack feel, from the achingly delicate piano composition of the opening "Emarald and Lime" to the dreamy guitars of "Complex Heaven" which are both both beautifully played by Jon Hopkins and Leo Abrahams.

Unfortunately from track four things go way out of focus, as it ventures into self indulgent industrial tribal glitch rock. On one track it sounds like Michael Flatley tap dances under the influence of ecstasy while Ritchie Hawtin tries to emulate 303 sounds on a broken DX7.

There are times where I can I hear a slight Aphex Twin "Drukqs" influence ? but without the effortless confidence and intricate details of Mr Richard D James.

Other moments of Eno's take on industrial techno or warpism's sound like an endurance test with the use of some unforgivably pointless sounds and over the top screeching guitars which are often so irritating you may prematurely reach for the eject button, but fortunately on Track ten "Slow Ice, Old Moon" the album returns to some spooky soundscapes which sound similar to some moments off Brian's ambient classic "Apollo" then we are treated to the gentle and rather emotive bleeps and shifting drones of "Lesser Heaven" and from here on in we are eased back in the comfort zone.

Towards the end we have "Written Forgotten" with its deep buzzing acidic synths, atmospheric pads and dreamy acoustic guitar combined with some oddball vocal samples and warm symphonic strings, which creates a shifting piece of ambient that wouldn't sound out of place in a David Lynch movie.
The album closes off with "Late Anthropocene" which sees Brian moving into the similar sonic terrain of Christian Fennesz with its beautifully layered female choir and wind chimes and glitchy abstraction..

Overall this album has a slight identity crisis, kind of half ambient and half industrial experimental, while the ambient half works really well I feel that the industrial side of it could had have been put to one side for another project perhaps, or even better kept for brian's own personal enjoyment.

Where its ambient 8/10

Where its other 3/10

Monday, October 25, 2010

Johannes Heil "Loving" [Cocoon]

German based techno producer Johanness Heil is well known for his often dark take on techno/electronica, particularly on albums like the excellent "Future Primitive" on Kanzleramt.

So his latest full length offering released on Sven Vath's rather trendy Cocoon imprint might come as a surprise or even quite a shock to some of his hardcore fans, not that Heil sticks with one style of electronica, in the past he has displayed a talent for producing anything from Hip Hop to Electro to pure ambient etc, but its the fact that "Loving" is full of bouncy, uplifting floor filling and almost crowd pleasing tracks at times which might upset some of Heil's die hard fans.

From the opening track "Hallelujah" we are instantly introduced to Heil's new sonic terrain with a two step style beat in a "We Will Rock You" by Queen style before heading into a sound with elements of traditional African music, with its almost cheesy tribal chants, the track develops nicely though with some deep synths and epic strings giving it an uplifting feel.

"All This One" sets us up for a taste of what's to come over the rest of the album with its minimal techno groove and bouncing stabs. "The Ace" picks up the pace as it starts off with a solid 4/4 groove and an almost "French Kiss" inspired organ sequence, the track is a real builder and reaches some almost epic highs with its deeply layered synths and strings". Then we have "Glockenspiel" as the title suggests this minimal groover layers a melodic glockenspiel vibe riding on top of a samba influenced techno groove.

Midway into the album we have "Big City Nights" which takes us away on some fat analogue bass antics with a disco feel and the use of emotive strings give it that uplifting feel yet again.

"Freedom Of Heart" starts of with a nice edgy groove full of electro toms and a simple bassline, then introduces a nice lightly phased piano and synth riff, it all builds up nicely with the introduction of a tasty string and pad combo and further funky synth keys, a clever arrangement keeps the track moving along with breakdowns and build ups designed for the dance floor.

"Halo Static" takes a more experimental approach with its glitchy flanged and bit crushed tech/electro beats and moody strings and abstract melodies and some clean technoid stabs, think speedy J meets Plastikman and you're halfway there.

"Twenty Three" returns with a chunky groove and dreamy atmosphere and the most uplifting keys and bassline combo on the album, then with a lovely deep and moody dub techno twist to add a sense of mystery only to return to the comforting vibe it opened up with, Heil turns it up another notch with a simple yet affective acid refrain, this is possibly the best track on the album...

"Could This Be" starts of with a slightly cheesy almost "Love is in the air" bassline and a typical house groove and some smokey organ stabs which then progresses into an almost handbag house territory with its diva vocal sound bites and its twisted acid sequences, quirky flutes, but the further addition of what sounds like a distorted lead guitar and cheap orchestral samples turns this into a bit of a Frankensteins monster of a club track.

The album closes off with the title track "Loving" which ventures closer to deep house with its strange mix of catchy simplistic bass and melodies with a slight reggae time signature layered with cinematic strings, lush female vocals and stabbing synths..

Although I couldn't really recommend this album to most fans of Heil's past darker strains of techno or to anyone looking for something new and groundbreaking in electronica, but I do feel this works very well as an album of DJ friendly techno/house tracks but lacks Heil's usual sense of identity to a large degree but Johannes has certainly proved himself yet again as a varied and very talented producer..


Saturday, October 9, 2010

Mick Chillage DJ set @ Decode 08/10/10

This is my second set from Decode..
The tracks chosen for this mix where randomly grabbed from my CD collection
and imported into ableton and these are the tracks that made it on the mix
on the night!!

Hope you enjoy


01 : As One "Rumours"

02 : Sensorama "Kondens"

03 : Spooky "No Return"

04 : Hug "heroes"

05 : Robag Wruhme "Skrubbs"

06 : Sunday Brunch "When It All Comes To This" [Night Drive Mix]

07 : Youngsters "Smile"

08 : Stakker "Stakker Humanoid" [Scan X mix]

09 : Youngsters "Abusive Melody"

10 : Sensorama "Quarzzeit"

11 : Orbital "The Naked And The Dead"

12 : Pete Namlook & Hubertus Held "Hey Leroy"


Sunday, September 26, 2010

Mick Chillage DJ set from Decode Dublin 24/09/10

This Dj mix is taken from my set at the launch night of Decode in Dublin.
the tracks chosen for this mix where randomly grabbed from my CD collection
and imported into ableton and these are the tracks that made it on the mix
on the night!!

Hope you enjoy

1: Sieg uber die sonne "You'll never come back"

2: Louie Austen "As long as I have a song"

3: A Guy Called Gerald "Pacific samba"

4: A Guy Called Gerald "Wow Yheah"

5: Metropolis "Metropolis" [Original]

6: Metropolis "Hyporeel"

7: Atom tm "Click track"

8: Telex "Raised by the snakes" [Anthony Shakir remix]

9: John Tejada "Clever bunch"

10: Isolee "Beau mot plage"

11: Octogen "Square bells"

12: 808 State "State to state"

@320kbps from yousendit

Sunday, September 12, 2010

Mick Chillage's "Old School Classics Megamix"


Everyone has their own definition of what old school is or what classic dance, techno, house, music is, I guess this is a collection of mine.. This mix will hopefully appeal to those who were around in the late 80's to mid 90's and maybe the younger clubber who has an interest in the past.. Also you may notice the dominance of the UK scene in the mix, this is due to the fact that the records of Detroit and Chicago etc.. had not really penetrated Ireland in the early days except for maybe kevin Saunderson's Inner city project or Rhythim is Rhythim "strings of life" which I originally had in the mix and later removed.

In my early years of clubbing I always wanted to hear a perfect mix of my favorite tracks, and sometimes I came very close, but the DJ would usually fuck it up with something like Black box's "ride on time".. or even worse Timmy Mallet's "Teeny Weeny Polka Dot Bikini" which had the ubiquitous "Aw Yeah" Public Enemy sample in it... Anyway fast forward to present day, I am fortunate to have all of these influential tracks in my CD collection and some amazing music making software called Ableton and now I have what I would call the perfect Dj set of my favorite old school classic's Ok some of the tracks may not be seen by many as classic or even old school, but they just connected with me in that unexplainable way...

Hope you enjoy
Mick Chillage Aug 2007
Mick Chillage Old School classics megamix
Tracklist :
Inner city : goodlife
Humanoid : Stakker Humanoid
L.F.O : L.F.O
Sweet Exorcist : Testone
A guy called gerald : Voodoo Ray
Meat Beat manifesto : Radio Babylon
Future Sound of London : Papua New Guinea
Depeche Mode : Happiest girl (Orb mix)
Orbital : Chime
Joey Beltram : Energy flash
Hardfloor : Accperiance
Slam : Positive education
Jam & spoon : Stella
Luke Slater : Love (Mick chillage extended edit medley)
808 state : Pacific 202

Friday, August 27, 2010

Sage Taylor "Raintime" on Pronounce records.

Pronounce records, a DIY label based in Detroit release their third very limited CD album from electronic composer Sage Taylor who is based in Portland Oregon.

What's hard to Believe is an album of this quality is unfortunately limited to one hundred copies, its a sad sign of todays physical market I guess ? I feel the music on here would appeal to wide range of music fans, if it was given a bigger push.

"Raintime" lies somewhere between the minimal classical compositions of steve Reich and Michael Nyman to the dreamy moments of say John Beltran's ambient techno but without the use of 4/4 beats.

I found the overall concept and theme of the album similar to Yagya's "Rigning" which of course is the Icelandic for rain but Sage's work is a very different affair but equally as hypnotic and deeply calming yet delivering a deep sense of meloncholy and emotions that only those wet home bound days can sometimes bring..

A truly essential release that only one hundred lucky people will get to hear, and I'm happy to be one of them..

Phasen "Gainesville"

Lately there has been a lot of discussions regarding the current state of techno music, thanks to the easy access of music making technology and trends like the new wave of so called minimal techno, many veterans in the scene feel that it has opened the flood gates to a new breed of soulless lazy producers, which is causing a lot of damage to the name of techno. This maybe the case for many of todays new and upcoming producers but its certainly not for Florida based Ryan Parmer AKA Phasen.

I first discovered Phasen's music a few years back on myspace music, I was immediately struck by the level of maturity and emotion in Ryan's compositions, as he was only in his late teens. The most obvious influences in his music at this time would have been acts like Boards of Canada, Tycho, etc..

Around this time Phasen was releasing some CDR's through the highly respected U-cover label so I ordered one of the albums which displayed his awesome talent for composing down tempo IDM hip hop styled tracks with some beautifully composed and played acoustic guitar and dreamy synths and quirky electronics, it was a rather stunning collection of melancholic pieces which perhaps captured the spirit of the endless warm days that Ryan would have been immersed in while growing up in the sunshine state.

Over the last few years Ryan has more or less left his early inspirational sound and moved into the techno/house music arena somewhat, but without losing his unique sense of melody and compositional values. Maybe the influence of going out into the atmosphere of Florida's club life has made an impression on him, whatever the reason is, it really shows that Ryan can produce music of any genre which always turns out to be a deeply moving sonic experience of the highest order.

Today the sound of Phasen is a lethal cocktail of House, techno, electro, disco, dub, hip hop ambient and beyond but somehow he manages to effortlessly blend multiple genres into all of his tracks, which can work equally well for home listening as they would for causing dance floor hysteria, thanks to the combination of his stunning key work, deep spacious tones and intricate beats and often cone busting basses. Unlike a lot of producers today Ryan doesn't really care about neatly fitting in to any one genre or scene, so he makes music that borrows influences from everywhere and makes it all his own.

Autumn 2010 sees the release of "Gainesville" on Dublin imprint Dublin Xpress Recordings its a collection of the most imaginative and memorable deep techno, house club friendly tracks that I've heard in some time, which could make some of the bigger producers to seriously consider hanging up their jack leads.

The album opens up with "The Times we Forget" a deep tech house groover that starts off with dub style chords, eerie strings and earth shuddering bass, giving you a sense of uncertainty but then the track takes a serious change in direction with the introduction of some beautiful flamenco guitar and uplifting pads which erases all of your troubles and sets you up for the great journey ahead.

Next up is title track "Gainesville" think Maurizio meets Hardfloor as deep dub techno sounds and rising acid sequences meet with bouncy old school house style piano riffs which only Phasen could pull off with such ease.

"The Truths we will find" opens up with dark sweeping pads and bleeping melodies before taking you off on a solid mid tempo techno groove, again the dub techno influences are strong here but on top of this we are treated to an array of instrumentation not usually associated with this genre, from tapping wine glass melodies and stunning freestyle piano flourishes that will bring Larry Heard to mind.

Towards the end things go in an even deeper direction with "In My House" an emotive electronic symphony that combines lush pad arrangements, deep tech stabs, blues influenced smokey organ refrains and solid grooves and some rather soulful twists and turns which will delight the fans of producers like Chris Brann and The Timewriter etc..

The album comes nearer to a close with the club friendly strains of "Floridian" a bouncy tech/house tune which is full of massive build ups and breakdowns, wobbly basses and sometimes a little on the edam flavored side of melodic.

things finish off with the beautiful but short "Outroduct" which sounds like it could have come from the Icelandic producer Yagya's back catalogue.

The album also comes with a collection of remixes of the title track, the most outstanding remix is from Germany's Nachklangmusik which has the potential of dominating dance floors across the globe.. F.L.O. turns out a lovely mellow ambient dub tech mix, while Ireland's Captain Random keeps it minimal and DJ friendly with his rendition. The collection concludes with a Nacim Ladj remix, which brings it back to a retro acid flavor, with a touch of influence from the likes of UK acid pioneer A Guy Called Gerald.

Over all "Gainesville" is a great and somewhat original collection of groove based electronica that should change a lot of peoples perceptions of what techno and house music has to offer and it also gives you a reason to keep a close eye on Phasen, as I'm sure this is only a little taster of the diverse and emotionally rich music that he has in store for us in the near future and in many years to come....

Tuesday, August 24, 2010

Anodyne Corrosion remixes EP Out Now!!!

In May 2010 Irish electronica master Colin Cloughley AKA Anodyne returned after a lengthy hiatus with his Corrosion album on Dublin Based Psychonavigation records, "Corrosion" is journey through the dark side of dance music, full of apocalyptic orchestrated synth arrangements with truly dancefloor devastating caustic beats and growling basslines which pays respect to early 90's artists like AFX, Autechre, µ-Ziq and many many more. "Corrosion" is certainly a contender for many electronica fans as one of the best albums for 2010.

August 2010 sees the release of The Corrosion remix EP firstly in the digital format consisting of seven tracks and then in september a limited three track 12" vinyl release featuring remixes from Autechre, The Black Dog and Lackluster. The digital release includes extra remixes by Ed Devane, Mr Spring, Anodyne and Mick Chillage.. This is certainly the greatest collection of big league elctronica names ever seen on an Irish release!!!

Autechre's remix of "Close Your Eye's" sees Manchester's finest go in an old school direction with the use of the infamous "Funky Drummer" break yet paying close attention to keeping the spirit of the original track by adding further key changes in the lush pad sequences and other intricate details.

The Black dogs remix of "Corrosion" starts off in a minimal techno terrain accopannied with bleeping synths and other electronic tones which develops into some deeply cinematic synth action of epic proportions. reminiscent of early Reload/Global communication tracks.

Lackuster turns out probably the most technologically advance remix of them all on his reworking of "707" with his trademarked edited beats and experimental electronics but with that melodic and emotional feel that only Lackluster can deliver.

Ed Devane treats us to a hardcore breaks and bass mash up of "Haze" which should appeal to fans of Venetian Snares etc, while Mr Spring keeps his eye on the dancefloor with his rendition of "Wasteland"

Anodyne's "Chemical Sunset" Mick Chillage Remix [Promo Edit Version] by mick chillage

The EP is available from the following : itunes,,,, and many more..

Sample all the tracks here on the junodownload player

Thursday, August 19, 2010

A Guy Called Gerald, a true techno survivor...

Manchester based Gerald Simpson AKA, A Guy Called Gerald is probably one of the best known and respected artists from the UK electronic music scene and one that certainly doesn't belong to any one particular movement as over the years he's jumped from acid house, techno to Jungle etc..

In the late 80's Gerald started out by trying to emulating the electronic sounds of Chicago and Detroit. The results where an infectious mixture of alien sounding afro acid grooves which sounded very unique with only the bare blueprints of the Detroit techno sound left intact. 1988 saw the release of his seminal "Hot Lemonade" album and at around the same time Gerald also worked with fellow Manchester based techno outfit 808 state on the heavily acid tinged techno album"Newbuild"

"Hot Lemonade" featured a version of the 1990 hit "Voodoo Ray" but overall the album really displayed an artist bursting with electronic innovation and it still sounds soulful and futuristic even today.

The early nineties saw Gerald in the top of the Charts with the Haunting tech mantra "Voodoo Ray" and then the release of his second album "Automanik" on CBS records, the album continued with a similar feel to his debut but sounded more polished and accomplished. One of the tracks titled "Untitled" was originally going to be called "Specific Hate" after the alleged lack of credit Gerald got for his creative input on 808 State's chart hit "Pacific" but the record company decided it was better to go with "Untitled" or "Subscape" as on the vinyl edition.

Gerald was pretty much respected for being one of the key acid and techno music UK originators but in 1992 he embarked on a new direction and this time possibly single handily invented the Jungle movement with his proto junglist album "28 Gun Bad Boy" which was full of clattering breakbeats deep sub basses and rude boy ragga chants and of course his trade mark melodies and electronic sound. By the mid nineties "Black Secret Technology" hit the scene, again Gerald displays a truly unique vision of the Drum & Bass/Jungle sound, a deep and dark tribal funk oozing with blues and ethereal ambient vibes yet retaining a street wise sound which certainly set him light years apart from the rest of the jungle scene.

Through the late 90's and early to mid 00's Gerald released some more albums and various 12" etc, his Junglist sound became a little more accessible somewhat, as he ventured into a kind of mature soul vibe which was particularly evident on the "Essence"released through K7 records but he managed to keep his position as a legend of British electronica.

In 2006 Gerald releases an new collection of techno on the Berlin Based label Laboratory instinct, the album "Proto Acid the Berlin Sessions" is a collection of deep techno acid jams with that distinct Gerald Simpson feel, Incredibly programmed drum machines emitting poly rhythms in perfect harmony with synchronized bleeping and buzzing circuits with a dark and soulful edge.

May 2010 saw Gerald returning with another album for the Laboratory Instinct label, this time titled "Tronic Jazz The Berlin sessions" initially I was expecting some sort of conceptual jazz electronica album but we are treated to another excellent collection of moody and soulful floor movers and right from the opening Gerald sets the tone with the stunning dreamy Detroit inspired "People moover" the album pretty much moves effortlessly from gem to gem, the dubby technoid flavor of "The Dip" sees Gerald mixing up the genres of techno and house and beyond with the greatest of ease, then we have tracks like the minimal bass driven stomper "Wow Yeah" The album also includes yet another version of "Pacific" in the shape of "Pacific Samba" well you can never have enough versions of this classic!!!!

The album finishes of with the eerie pulsating arppeggiated sci-fi soundtrack of "Merfed" Ok so Gerald may not be currently releasing groundbreaking material like he did in the past but he has proved that in world full of unidentifiable techno clones that this Guy from Manchester is still more relevant than ever, and he also proves that there is still plenty of life left in this beast called "techno".

Wednesday, August 18, 2010

Is this an ending, the descent for ambient music ?

Yet again the internet has given birth to another overnight sensation, this time its actually a 35 minute piece of ambient music ? What baffles me is how this fairly interesting piece of music has taken off ? I mean most ambient music on the web by a well known artist would be lucky to get a couple of thousand hits per year with one of their tracks, so for an unknown electronic artist with 203 followers on soundcloud to reach half a million in one day its hard to understand how ?

Well I guess the name of teen pop idol Justin Bieber and his hit song "U Smile" has helped somewhat in drawing an audience to this genre of music usually ignored by mainstream followers or could it be the mastermind of some major music marketing executive to further boost the profile of J Bieber by causing a viral sensation ?

Seemingly The track in question was achieved by simply importing the original 4 min pop song into some free software and slowing it down by 800%, which I have to admit the results are pretty interesting. The track now reminds me a little of John Foxx's "Cathedral Oceans" album but without the deeply emotional impact. Some people are claiming this to be the most beautiful ambient track ever created, like the music that could possibly be played on the PA system at the pearly gates ?? Seriously though you wouldn't have to search for a very long time on youtube etc to find ambient music thats far far superior.

Ok so this track could be a very positive thing for the ambient music scene in general or more than likely it could start a worrying new trend, I can imagine already thousands if not millions of people around the world already trawling through their pop MP3 collections frantically time stretching track after track in the vain attempt to find the next instant ambient hit..

So where does this leave the producers of real ambient music ? will everything we produce from now on be judged as some pop song we simply slowed down and called it our own ? or does this open us up to a whole new audience of ambient lovers ?

Hopefully though like all internet sensations, it will be forgotten about in a few days, the major record labels will continue to spew the same old shit, artist like Shamantic will probably never make a buck from his own music and the real ambient music world will continue pleasing their small group of dedicated fans..

Time will tell...

J. BIEBZ - U SMILE 800% SLOWER by Shamantis

Friday, August 13, 2010

Mick Chillage Ambient Journeys Mixes. four hours @320kbps


Heres my first ambient mix, since the "Best Served Chilled" tapes of 94 & 95 and a rather lengthy four hours in total thanks to developments in technology & a substantial collection of ambient music. I decided to split them into two parts and offer the files at 320kbps after getting some feedback on various forums on what is the perfect ambient mix.. I may upload the whole mix in one piece later..I feel this mix is more suited to personal listening rather than trying to chill people out at a social gathering, as it shifts from very dark minimal drones and deep environmental sounds to gentle classical pieces to pure space music & occasionally returning to earth with more emotional compositions . Fortunately due to the very long running time of the mix I was able to included full length versions of most of the tracks while using a repeated theme at various intervals using multi-tracking additional looping & effects.

I hope to create many more "Ambient Journeys" although a title probably a little cliched by now ; )

Mick Chillage June 2009

Ambient mix 1 part A

01 Hal 9000 intro
02 Cyorgy Ligeti: Requiem For Soprano..... "2001 A Space odyssey" O.S.T
03 Jack Dangers : Burbidge Chain "Music For Planetarium" [brainwashed]
04 Lustmord : Metastatic Resonance " The Place Where the black stars hang" [Soleilmoon recordings]
05 Lull : Whiteout "Like A Slow River" [Glacial movements]
06 J.S. Bach : Italian Concerto BWV 971 "Cello Suites" [Apex]
07 Steve Hillage : Garden Of Paradise (excerpt) "Rainbow Dome Musick [Virgin]
08 Aaron Martin and MachineFabriek : Cello Drowning "Cello Recycling / Cello Drowning [Type]
09 Irezumi : Endurance Part II "Endurance [Snowblood]
10 Dots : Dots "Dots" [Rather Interesting]
11 Cluster : Cluster 71 part II (excerpt) "Cluster 71" [Sky]
12 Selstram and Strahler : Waldschrat "^ö^" [Source]
13 J.S Bach : Orchestral Suit No.3 in D Air On A G String "Cello Suites" [Apex]
14 John Foxx : Infinite In All Directions "Ocean Cathedrals I" [Edsel]
15 Johann Johannsson : IBM 1403 Printer "IBM 14CI, A Users Manual" [4AD]
16 Stars Of The Lid : Even If Your Never Awake (Deuxième) [Kranky]

Ambient Mix 1 Part B

17 Murcof : Cosmos 1 "Cosmos" [Leaf]
18 Evan Bartholomew : Reborn We Fluctuate And Fade "Caverns Of Time" [Somnia]
19 Mark Van Hoen : Untitled "Playing with Time" [Apollo]
20 Miles Tilmann : Middle Fields "3D Concepts" [Toytronic]
21 Adagio : Gayane Ballet Suite "2001 A Space Odyssey" O.S.T.
22 James Bernard : Mars Rain "Atmospherics" [Rising High]
23 Gel-Sol : Rainboze "IZ" [Psychonavigation]
24 Goldmund : Anomolie Loop (1960-1969) "Corduroy Road" [Type]
25 Chapterhouse : Beta Phase "Blood Music Retranslated By Global Communication" [Dedicated]
26 Stevie Be Zet : Passion & Hope "Archaic Modulation" [Recycle or die]
27 The Fires Of Ork : The Facts Of Life "The Fires Of Ork" [Apollo]

Tuesday, August 3, 2010

Nachklangmusik "Stereotype world" EP and remixes

The Highly talented German based producer Nachklangmusik releases his latest EP this time for Irish based DXR recordings.

The EP is released in three parts, featuring six original tracks of deep melodic and moody tech/house groovers effortlessly blending dub IDM and experimental touches throughout. The final EP features three remixes, Artist on Remix duties are F.L.O, Phasen and myself..

Check my remix in full.....
Nachklangmusik "Stereotype world" Mick Chillage remix [DXR] by mick chillage

Just press a button ????

It still shocks me when I mention the term "electronic music" and how some people often react, as if its not a form of real music, as if its some sort of gimmick or novelty music, often comparing it to "Washing Machine music" or making stupid R2D2 sounds with a condescending grin on their faces, as if that sums up all the electronic music ever created.

Yes!! a lot of it is utter rubbish but that can be said about all forms of music and Its not as if electronic music is some sort of a new fad, its roots can be traced back to the early 1900's with sound experimentalist like Ferruccio Busoni etc and it has also become so commonplace in modern day culture that you would imagine electronic music would have been accepted as a valid form of art by now ?

One comment that really makes my blood boil is "oh its not real music, unless its played on a real instrument". Well most electronic music is created by recording a performance played on a keyboard/synthesizer, except for maybe some methods of sampling or those who simply use pre programmed musical elements but in this article I want to focus on those who actually write and compose original pieces.

Lets look at acoustic instruments, they have been around for thousands years, in order to achieve their characteristic sound they are cleverly designed and crafted in a particular way, which was pretty much considered cutting edge technology back when they first appeared.

Just like guitars, clarinets and violins etc, the synthesizer was created as an instrument to have its own unique sound, the only difference was it uses electronic circuitry to create it, and the advantage of the synth is the user can change and manipulate the tones in infinite ways to create an infinite palate of sound. So if you strum or pick the strings of an acoustic guitar it will always sound like an acoustic guitar, you don't actually have to know how to play it to trigger its unique sound, so the same applies to the synthesizer, press one of the keys and it will produce a synth like tone, but tweak some of the dials and you can create many different synthesized sounds.

Unfortunately the synth was somewhat misunderstood in the early days which seems to have resonated right through to today, a lot of users felt it was meant to replace traditional instruments and spent a lot of time displaying how great it was at emulating acoustic instruments, which sadly wasn't the case at all and this use was never the intention of its inventors. Thankfully in the late 60's Walter Carlos released "Switched on Bach" which displayed the works of classical composer Johann Sebastian Bach performed entirely with moog synthesizers, which helped in some way to convince the world that synthesizers where a valid musical instrument.

From the late sixties onwards the synthesizer started to creep into popular culture, a few examples are the jazz scene branched off into the fusion era, mixing traditional jazz with electric guitars and electronic sounds. John Barry used some synths to great effect on His soundtrack to the James Bond movie "On Her Majesty's Secret Service". By 1974 Kraftwerk released "Autobahn" and the world went synth crazy, jean Michel Jarre's "Oxygene" was an original opus created entirely with synthesizers and it was a huge hit. Film maker John Carpenter scored his movies entirely with synthesizers which greatly added to the atmospheric feel of the films.
By the 1980's Synth Pop was an unstoppable force, but some were still not convinced that it was real music ?

One argument often brandished by the rock purist world is that all synths sound the same no matter who uses them, for example, "when Hendrix picked up a guitar it distinctively sounded like Hendrix", this maybe true but the same can be said with electronica artists, no one else plays synths or gets the same sound like Klaus Schulze or Vangelis, Kraftwerk, Orbital etc..

Then there is the infamous story of one synth pop act who were carrying their Fairlight into the BBC studio to perform on The Old Grey Whistle test, which was spat upon by a member of a popular metal act. So what's the problem if you compose music using electronic devices ? If you write a novel on an ipad rather than a traditional typewriter does this mean the piece of literature is sub standard ?

The composition of music seems to be valued by some by the fact that it was written and played on a guitar or acoustic piano etc and then performed live and recorded, take any of the classical composers before the 20th century many of these wrote music on paper and most of it was intended for an orchestra or choir etc, many of them never actually heard their pieces performed, because they didn't have the luxury of a choir or orchestra at their disposal and chances are they probably couldn't play all the pieces they wrote if all the instruments needed were handed to them, does this devalue their brilliance in any way ?

Electronic music producers these days can pretty much do it all on their own thanks to MIDI and audio based sequencers both software and hardware, basically the sequencer acts like a conductor with an orchestra, the composer, can input notes on a keyboard or notate if they can read and write music and depending on the software.

The sequencer can record each separate performance, then the composer can play it back in a loop which enables the composer to move on to the next element and so forth until all the basic elements are combined. So just like a classical or soundtrack composer may write a piece for a full orchestra, its obvious he/she cannot play all these parts alone, so the notation is handed to each player and the conductor signals them when to come in, the electronic musician/composer can do the same with a computer or hardware sequencer. The sequencer can be programmed to command each musical part when to come in, drop out, rise in volume change of chords etc.

This method of production is not just used by electronic music artists, pretty much most of the music you hear today whether its rock, pop, jazz etc, will probably have been created using a computer sequencer and also many other electronic treatments, so it would be pretty fair to call all music electronic these days.

So its not just a simple matter of pressing one button as some people will often say, just because you have state of the art technology at your finger tips it doesn't equate that you are guaranteed to write masterpieces every time you switch on the equipment, its all down to the talent skill and soul of the user, as yet no machine or computer can write music which can actually connect with humans on an emotional level.

Playing live, Now this is where electronic music becomes most criticized, traditionally live music consists of a drummer, bassist, keyboards, lead guitar singer etc.. I'm focusing on the solo artists in this case. Most electronic music will be performed live with the composer jamming with a sequencer which is comprised of prerecorded elements of the original work.

In recent years most electronic artist will use a laptop and maybe one midi controller keyboard, this is the most hassle free way of playing live, no one wants to take their home studio with them and most cannot afford to hire session musicians to play all the parts individually. This set up enables the artist to perform a live digital arrangement and the controller makes it easier for them to access Fx, mixer controls etc which they can manipulate on the fly or even play some keys if they have it connected to a soft synth or other. Another advantage is that it usually does away with the need for a sound engineer.

Setting up a live set usually involves a lot of preparation, every element of each track has to be recorded into the laptop and perfectly looped and then plenty of rehearsal is important in order to remember when to trigger each element, how to fade in or out etc.. Although it may look like the digital performer is checking emails or on facebook, it is actually taking a great level of concentration and skill and remember its their own music they are performing and not simply playing someone else's work or DJing, which brings me to another issue often encountered by the laptop performer. Say if the artist is performing a live rendition of a melodic down tempo track at a house/techno club, it won't be a surprise if some reveler will come up to the DJ box and ask if they could play something more upbeat : (


this blog is not about trying to convert people into actually liking electronic music but more about trying to dispel the myth that its just a matter of pressing a button to make music electronically. or its not intended to be a definitive history of electronic music. Unfortunately this blog will not be read by those with the rather out dated ignorant attitude, but I am happy that I can get my points across without being rudely interrupted.

Mick Chillage August 2010

Monday, August 2, 2010

Vakama's "Cyan" Mick Chillage Epic dub mix [nice & nasty] 2009

Vakama's techno monster "Cyan" was the first remix I created for [nice and nasty] and is still one of my personal favorite ambient tracks and is still available from itunes, beatport juno etc..

Vakama's "Cyan" Mick Chillage Epic Dub re-work by mick chillage

Sunday, August 1, 2010

"Detroit At Night" by Bellyoftheunderdog

Waterford based Producer and DJ Bellyoftheunderdog presents a mix of late night Detroit inspired techno tunes, featuring tunes from claude young, ian o brien, orlando voorn, jamie behan, dj klaina, trish van eynde, gemini, mick chillage, dj bone & lots lots, lots more! Detroit by night style.

Tracklist coming soon

Bellyoftheunderdog Detroit at night by botud Detroit at night

Saturday, July 31, 2010

Mick Chillage Journey thru my house Vol 1

Mick chillage journey thru my house vol 1

Journey thru my house is a deep house megamix, which I created using ableton live back in 2007 most of the tracks have been selected from various CD albums which I have purchased over the years.

Hope you enjoy Mick Chillage


Marco Passarani : Criticize (Sullen Look) peacefrog

Metro : $1.15 Please (Freddie fresh presents abstract funk theory) Obsessive

Glenn Underground : Return to zion (Lounge excursions) guidance

Kerrier district : Lets dance & freak (Kerrier district) rephlex

Jori Holkkonen : Wanna do you (when no one is watching we are invisible ) F comm

Boy robot : we accept all our parents credit cards (rotten cocktails) City centre offices

Sunday brunch : My world (no resistance) Svek

Vince watson : Mystical rhythm (Biologique) Alola

St Germain : IL (from detroit to st germain) F comm

Susumu Yakota : Sky blue (sound of sky) exceptional

Plastique : Laugh gas '98 (Atom tm presents acid evolution 1988-2003) logistic

Sunday brunch : Things you said / night drive mix (no resistance ) Svek

Jorgen Paap : Mit dir (total 4) Kompakt

Chris Grey : Sun needs planet (fish & luvconfushun) fragmented

David Alvarado : My Plea (Mayasongs) peacefrog

The timewriter : the waterfront (Paintbox) Plastic city

Wednesday, July 28, 2010

Mick Chillage's "Pauls Party Mix" Deep house, funk, old school etc..


This is a mix which was created for Paul Chillage's birthday back in june 09, which I have finally decided to share with you... The mix was recently featured on the sequence radio show [Pulse, RTE] but only one hour was played so here is the full mix in all its beatiful glory ; )

01 Mick Chillage : Departure [Stefano Vozza remix]
02 Norma Jean Bell : Mystery
03 Metro Area : Miura
04 D.O.P : Lion
05 The Timewriter : Handsome Machine
06 Random Factor : Move On
07 React 2 Rhythm : Intoxication
08 Metro Area : Machine Vibes
09 Kerrier District : Yasco
10 The Timewriter : Flicking Pages
11 I Cube : Picnic attack
12 The Timewriter : Blue Sky
13 Spooky : Aqualung
14 Mick Chillage : Pure Blue [Dave anderson remix]
15 Jimpster : Love like this
16 D.O.P. Party Rocking
17 The Timewriter : Heartstrings


Sunday, July 25, 2010

Free Mick Chillage Music

Over the last few years I have released some music with various net labels and shared some tracks on soundcloud etc, with pretty much everything from ambient, house, techno, IDM etc..

Kosmo Net label via soundcloud

Mick CHILLAGE by kosmo netlabel

From Etoka Miniature via souncloud

Mick Chillage - Zero In by EtokaMiniature

07 Mick Chillage - Sightings (original mix) by EtokaMiniature

From my soundcloud page

Deep ambient remix of Radioscotvoid chiptune "I love Special K"

Radio ScotVoid "I Love Special K" Mick Chillage's Black Hole remix by mick chillage

The Beast, Hardcore breaks gabba mashup of Gerry Goldsmiths "Omen" score..

The beast by mick chillage

Early ambient electro recording

Another Night Drive [1997] edit by mick chillage

Another early recording, ambient, IDM..

A Good Nights Bleep by mick chillage

3 track EP "Eye On The City" from

Chicago inspired deep house track

Chicago pad [download limit reached] by mick chillage


Get this track and the full compilation here

Saturday, July 24, 2010

The Black Dog - 08 Dark Days, Grey Nights - Ambient DJ Set

The Black Dog return with the final ambient DJ set for the current podcast series, this one is more suited for those who like the darker side of ambient..

The Black Dog - 08 Dark Days, Grey Nights - Ambient DJ Set by The Black Dog

01. David Lynch – The Air Is On Fire – Strange World Music
02. Gas – Untitled – Kompakt
03. Pan Sonic – Wanyugo – Blast First
04. Nocturnal Emissions – Clear Bells – Earthly Delights
05. Alva Noto – Prototype 8 – Mille Plateaux
06. William Basinski – Fringe Area – Raster-Noton
07. Labradford – P – Kranky
08. White Rainbow – Awakening – Kranky
09. The Black Dog – Gate 21 – Dust Science
10. Lustmord & Robert Rich – Undulating Terrain – Fathom
11. Chris Watson – Vatnajokull – Touch

Seefeel Vaults...

The original indie ambient dub masters Seefeel return with first new material for almost 14 years + announce one-off London headline show..

Check out the selection uploaded by Warp records @ Soundcloud..

Seefeel - Faults by Warp Records

Friday, July 23, 2010

Mick Chillage's Old School Classics Megamix

204769186_76f6cbc0051.jpgEveryone has their own definition of what old school is or what classic dance, techno, house, music is, I guess this is a collection of mine.. This mix will hopefully appeal to those who were around in the late 80's to mid 90's and maybe the younger clubber who has an interest in the past.. Also you may notice the dominance of the UK scene in the mix, this is due to the fact that the sound of Detroit & Chicago etc.. had not really penetrated Ireland in the early days except for maybe kevin Saunderson's Inner city project or Rhythim is Rhythim "strings of life" which I originally had in the mix and later removed. In my early years of clubbing I always wanted to hear a perfect mix of my favorite tracks, and sometimes I came very close, but the DJ would usually fuck it up with something like Black box's "ride on time".. or even worse Timmy mallet's "teeny weeny polka dot bikini" which had the ubiquitous "Aw Yeah" Public Enemy sample in it... Anyway fast forward to present day, I am fortunate to have all of these influential tracks in my CD collection and some amazing music making software called ableton I now have what I would call the perfect Dj set of my favorite old school classic's Ok some of the tracks may not be seen by many as classic or even old school, but they just connected with me in that unexplainable way...

Hope you enjoy

Mick Chillage Old School classics megamix
Tracklist :
Inner city : goodlife
Humanoid : Stakker Humanoid
L.F.O : L.F.O
Sweet Exorcist : Testone
A guy called gerald : Voodoo Ray
Meat Beat manifesto : Radio Babylon
Future Sound of London : Papua New Guinea
Depeche Mode : Happiest girl (Orb mix)
Orbital : Chime
Joey Beltram : Energy flash
Hardfloor : Accperiance
Slam : Positive education
Jam & spoon : Stella
Luke Slater : Love (Mick chillage extended edit medley)
808 state : Pacific 202

Wednesday, July 21, 2010

Future Sound Of London Essential mix from 1994

FSOL - Earthbeat Studio Session Pt. 1, Essential Mix - BBC Radio 1 1993-12-04 by +dB

"Best Served Chilled" an early mix tape recreated


Finally I have got around to recreating side two of my "Best Served Chilled" mix tape This is an early chillout mix tape I created back in late 1994 using just a Kam dj mixer and two portable CD players with no pitch control.. I painstakingly worked out the mixes relying on the LCD countdown of the CD players and using the faders to blend the tracks. One of the later tapes has mixed by "the Chillage Idiot" written on the inlay card.. A lot of these tapes were passed on to friends and are listened to in far away places like Australia, Ibiza etc..

Thanks to Carl for keeping these cassettes and for sending me copy's of the original inlay cards with the track listings etc.. I have yet to re hear the originals but from my best memory I have recreated the mix digitally and Again all these tracks bring back great memories of a period in electronic music when everything sounded fresh and they had a profound emotional and inspirational impact on me..

Some of you will probably be very familiar with the artists and the tracks on the mix, but for those of you who may be hearing these for the first time,I hope you enjoy the timeless quality of these tracks as much has I have over the years..

Side One :

Reload : the enlightenment (a collection of short stories) Infonet

Brian Eno : an ending ascent (Apollo atmospheres & soundtracks) editions EG

Syzygy : Dreams of flying (Morphic resonance) rising high

Global communication : 4:02 (76:14) dedicated

Future Sound Of London : Flak (Lifeforms) Virgin

Vangelis : Main titles part 2 (Blade runner OST) Warner

Reload : Phase 4 (Auto reload EP) Infonet

Biosphere : Startoucher (Patashnik) Apollo

Pete Namlook : traveling without moving, trip 8 (Air 2) Fax

Reload : the biosphere [Global communication remix](Auto reload EP) Infonet

Side Two :

Track list :

Chapterhouse : Delta Phase (ChapterHouse Blood Music retranslated by Global Communication) Dedicated

Stevie Be Zet : Passion and Hope (Archaic Modulation) Recycle or Die

Future Sound Of London : Dead Skin Cells Virgin

Jam and Spoon : N.A.S.A (Tripomatic Fairy tales 2002) Epic

Banca De Gaia : Shanti (Desert Wind) Planet Dog

Beaumont Hannant : A Summer Spent (Texturology) GPR

Download Best Served Chilled Zip

Monday, July 19, 2010

Electric Deluxe podcasts with Pete Namlook and Atom™

Jochem Paap Aka "Speedy J" who has recorded for labels Warp, Nova Mute etc.. is the Rotterdam based techno producer who runs the Electric Deluxe label. The electric deluxe podcasts are quickly becoming a thing of legend amongst fans of truly cutting edge electronica and techno music, here I present two podcasts by two of Germany's most influential artists and two of my personal favorites.

First is Frankfurt based Pete Namlook who pioneered the next phase of ambient music in the early to mid 90's with his incredibly prolific Fax label, which often released an album a week in the early days. Today the label is still going strong and covering everything from ambient, techno, jazz, IDM, and beyond.

Over the years Pete has collaborated with some of the biggest names in the electronica scene, Ritchie Hawtin, Klaus Schulze, Bill Laswell, Jochem Paap, and Move D to name a few. Pete prefers the term "Environmental" music rather than the often misused "Ambient" title.

Next, Uwe Schmidt Aka Atom Heart, Atom tm and a million other aliases and sometimes collaborator with Namlook as "Jet Chamber" Uwe has pretty much made every kind of electronic music known to mankind but with a unique and distinctive Atom™ sound sometimes with a satyrical look at current trends in music production and modern culture.
Uwe is pretty much one of the first artists to intentionally use digital glitches as an integral part of his compositions, which now has become almost common place.
Uwe moved to South America in the mid 90's as he got bored with the scene in Germany, while there he soaked up the flavors of latin music and the aliases Lisa Carbon and Senor Coconut amongst others were born.. Uwe runs his own label "Rather Interesting" but has released on many many labels like Rephlex, Pod, Fax, and Ninja Tune.

Both mixes include much of their own work along side some of their favorite artists. So wether your a longtime fan or discovering these two great artist for the first time I'm sure you will enjoy..

Electric Deluxe Podcast 014 Pete Namlook by electric deluxe

Electric Deluxe Podcast 022 Atom™ by electric deluxe