Don't Care About The Podcast 008 - Sev Dah - Taṇhā (Part I)

Interview: Sev Dah (PROLETARIJAT)

I know a guy, artistic name is Sev Dah. I wanted to have him on board, buggin' him for a long time to do a podcast. And finally he sent me this masterpiece. We were talking a few times months back, planning details about what we can do, to make this podcast special, and I'm super-surprised what he has done, from sevdah and sevdalinke to more experimental electronics. Hope you will enjoy like I did for the last couple of weeks. No playlist here, just enjoy.

Datzee: How’s electronic music, especially techno, got in your life? Which album do you think took you over to the techno side, and is there any other kind of music you prefer?
Sev Dah: I have always felt that I’m not like the others, in a way how I dress, eat etc. Different in general how I think and how I want to live my life. I felt inside myself that I need something more than ordinary life, I felt that call, and that something wanted to get outside of me. My first contact with electronic music was somewhere around 1994, maybe a little bit earlier. There was some style, in Germany, I do not know if that still exist anymore, people around me called that style „cosmic“. I can’t remember any artist or track, and all I know is that the music was slow and different from anything I heard before. Later I discovered old school techno, in which I found myself. That’s the fact, some things challenge you, push you to go beyond limits of your mind. And I find that attractive, and Techno have that, let me say, power to push you to do that, and it still does. I’m a big fan of trip-hop, heavier hip-hop, and always have a place in my heart for dub and reggae. When you asked me hip hop, in my formative years there were a small group of people and bands that did the sound I liked. I could easily name Freundkreis from Germany. Albums like Esperanto and Quadratur des Kreises, they had that combination of oldschool, jazz and some deeper things, which was different at that time from anyone else. I said deeper, and darker, with that I mean they had deep and wise political lyrics, and much darker, self-consciousness and state of human existence. 

Datzee: "Cosmic", what do you mean “cosmic”. Can you describe?

Sev Dah: I don’t know, frankly I can’t remember... it was something like Goa Trance but on 100bpms. Maybe it sounds strange for the people when I said, I drain inspiration for my production from all kinds of different musical styles. I listen a lot of music that isn’t easy to find like Bosnian “sevdah” and “sevdalinke”, and they are direct influence on my sound and production. Also focus is on dark and melancholic elements and parts of genres and styles, to feel them, to understand them and then to turn them into the sound. 

Datzee: Since you are Swedish I assume that leaving your home Bosnia also was that certain factor how to feel the music. Would you still make music, generally electronic music if you didn’t leave Sarajevo? 

Sev Dah: Well generally I didn’t do anything but electronic music while I was living in Bosnia, and from this perspective it was getting me down. I was limited either because I lived there, or maybe it was because lack of my age and experience, which I got now. But the fact that I left Bosnia broad my vision and knowledge of the music, DJ or production-wise. Still I have my memories from Sarajevo and Bosnia, because it all started there: first gig, first serious production, and I had a vision (like all of us – editor’s comment) and I wanted to start something there, but because lots of reasons, I decide to start that somewhere else, outside Bosnia. I think that leaving from hometown and that environment is a major influence and I think it made me find myself as an artist. I see some positive things in Bosnia that I didn’t see while I was living there, or I think I didn’t want to see. I still wore these positive things proudly on my forehead from where I came from, to use something pure Bosnian and try to translate that into my music. I strongly believe that I’m on a good way. If I didn’t leave Bosnia, probably I would continue in that same direction. I would, for certain, produce techno records, but right now I’m focusing more on experimental Techno. Maybe that nostalgia for Bosnia and all those positive things that are still there makes me want to try something new in the studio. 

Datzee: Did you find an underground techno/house scene when you moved to Sweden, and was it easy to find clubs and happenings? Is there any kind of electronic scene in Helsinborg? 

Sev Dah: I lost 3 years of my life trying adapt myself to my environment , and I didn’t worked much on music at that time. Scene is pretty small because the state doesn’t support much anything about techno at all, everyone knows that Swedish artists are giving so much to the Techno scene but there are lot of rigorous laws and rules than you might think that those who want to do something legally will not be worth the try On other side, the positive thing is that underground scene is strong. There are STILL people who do it and are trying to bring it to the next level. They held their parties in abandoned factory halls with dirty walls on highest professional level – and that keeps local scenes alive. I just became a member of one crew in Helsingborg who own a factory floor, where we clean up couple of smaller rooms for cultural happenings (painting studios, audio studios and rooms for workshops). We even tide it up and now we are trying to decorate the club, and we hope that it could be in use after the Summer. It’s a space for around 500 people, and I’m so blessed to be the part of this project. But when we speak about Swedish DJs and producers, that is the most positive thing! They are all passionate and evolved their own unique style, and I play their music a lot. They work really hard, they really live techno, and even if you got strict laws and rules, you need to work harder, and there are visible results. Their music is played almost everywhere – and that is positive, that spirit to do as much as you can and that you can succeed. If you ask me I love that uncompromising and rigid sound that Swedes are known for. That is also my philosophy of techno: it should be simple, sometimes raw, but with healthy dose innovation and modern sound, all wrapped up into one killer beat! That is why I know I’m in the right place when we talk about inspiration, and I feel good, like it is a place where I belong. There is also that Scandinavian climate, that pushes people to more prolific, maybe they aren’t so sociable at first (like us – aut. com), they have their social rules, their work, and that they are committed 24hrs a day so there is some kind of bitterness and isolation that you can feel in their music – not everybody likes it, but on contrary, I enjoy it. I like that, they do not separate music from other forms of art. It is the same thing, but with different tool and different working material, and most important: they all are into the art, and making no differences between the arts. I don’t like to say that I’m part of certain scene cause I feel my sound is universal, and I’m continuing to work that way. 

Datzee: Now that you have kids, how many time do you actually spend in the studio and behind the decks right now? Does the new-born child influences your music and how? 

Sev Dah: Well, I try to spend all the free time I can get, but it is hard these past months with two kids and full time job, which really is draining me both physically and mentally. This year I’m more focused on shows, and I want to spread the message and agenda what is behind PROLETARIJAT. Unfortunately that means a lot less music, and I haven’t planned many releases on PROLETARIJAT in 2017. But with every gig I get inspired, every time I come home I want to go to the studio and transfer all that experience, which I have gain, into my sound. Yes, it’s hard, but got no time to pity, cause that’s what I want to do. When times are hard, the sound gets better, and better. When I became father for the first time in 2010, many things turn better in me. I’ve became better person. I can’t really say that this life-event changed my sound drastic, but changes of priorities have changed their places, so I learn to less indulge myself in everyday life. I will stick to my plan, that till 2019 I will quite my daily job and try to live only from the products of my music. Right now, that sounds like impossible from this point of view, but i will try to manage to come to this goal. I’m also glad that in 2017 was my busiest year in my DJ/producer carrier, I’m proud of the achievements I did in this year, and I’m looking forward to my next gigs. I’m happy to be able to do at least 2 gigs per month, and sometimes I can’t accept more because day job and my family – but those gigs allowed me to live Techno to the fullest, so at those gigs I give my maximum. PROLETARIJAT has been little bit left by side, and we plan Proleterijat004 to release at autumn. There will be even more, but still not sure when – but there will be more info about it later for sure.

 

Datzee: How and when did “I want to be a DJ“ bug bite you? Can you recall the place of your first gig and the reaction of the crowd? Can you remember that special moment when you know you got the crowd in your hands, the moment when you become aware of your role and power of the DJ?

 
Sev Dah: Since I’m into this kind of music, I always wanted to perform in front of a crowd, to create my own version of that music. After my first serious production steps I wanted to test it in front of the crowd, and I think it is a logical and natural step, to try myself as a DJ. First gig was somewhere in 2006, in a club called AG in Sarajevo. I was very nervous, it was my first contact with pro gear, even I thought I made a mistake for accepting the gig. It is funny story, because I didn't have money for two turntables and proper mixer. And four days before the gig I meat this guy who had everything, at least for bedroom DJ, and with help of my friend who knew him, she arranged a meeting between me and the guy so I could come to his place the and to prepare myself for gig. We told him I have experience and I just need to practice a little, to get in form since I didn’t play for a long time. What a lie! I never stood behind the decks before! But that moment when he asked me what style I play I responded: "Techno", just like that! He just pull out two techno records and said, here you go. And when I started, it was like I was doing it for years. My mix between those two tracks were almost perfect. I was shocked, but I also felt that I’m born to do this! First gig was, at least for me, perfect. I had jitters, that drained me emotionally, but at least I knew people had a good time. One of the best feelings in the world!!! But for the very first time where I knew that people are “eating out of my hands” and I had control of every aspect of the ambient was at Beghain. And I will remember that for my whole life, and I will take that with me as one of my best gigs ever done. I know I can take crowd on a journey, I had experience, but again Berghain is a very special place, where all things are on the highest level. 4 hours of darkness on the best sound system, under my control, left the mark inside of me, and that experience I’m trying to transfer to every place. I feel so lucky I was able to do that, and I think Universe collide for that brief moment – for letting me do that – to do what I want to do! And once you asked me how did it happened to play at Berghain. Well there is a story: I was invited by Luke Slater, at that time we planned my release on his Mote Evolver. That year Luke was on his world-wide tour “22 Light Years Of Planetary Funk” where he invited almost every artist he has released on Mote Evolver, even before Mote Evolver-phase, and that was a reason for putting me on the bill for the Berghain show. I was ashamed of my prejudices about Berghain that the whole place was over-hyped – I was super wrong!!! The whole vibe, professional organization and the people who flock there every weekend is really something over-the-top… I still can’t describe my feelings and emotions about that evening and morning. I remember the night before the show Steve Bicknell (legendary English techno dj, driving force behind legendary LOST club that even create myth about Jeff Mills before he even came to play his first show, just for example) asked me if this is my first visit to Berghain, and when I answered yes, he just whispered with the smile: “mate, be prepared to stay longer inside than you are used to stay inside a club! this place has some kind of strange magical magnet inside". Everything he said was true. I would like to point out that Berghain was one of my highest point of my carrier, I meet new friends and made friendships with the people who were my heroes. And one more thing: you get orgasm when you play your tracks in there. It was the honor and I hope it is not my last gig there . 

 

Datzee: Please could you tell me how PROLETARIJAT started anyway? From basic need to release your own music, or are there any other reasons? 

 

Sev Dah: The idea was to just work on my own production, without any restrictions. I never intend to sell my music, I just needed artistic freedom. From the first moment I knew I will have to pay for everything from my own pocket. On the other side, all I wanted is just to start and get this thing going and I was mentally ready, because I thought it will never sell enough, I will always be in minus. It was pure luck, and pretty right time for that kind of music. I was able to get myself out, so I can press another records. I feel grateful that people react and bought my records, thanks to them, all the ravers all around the world. I spend a lot of time for planning, what can be concept, and even name itself. I realize, I’m proud of resistance of my/our people during WW2, and concept could easily fit into techno esthetic. Techno was all about struggle in it’s core. Connecting the resistance movement from history – it was a perfect match. With sound I can easily wake my other artistic potentials, so every release of Proleterijat have a specific story. I wanted through my music and artwork to present spirit of community, spirit of friendship and mutual respect. PROLETARIJAT is essentially my own platform for expressing my own freedom of speech, without someone over my shoulders telling me: „No, you can’t sell that, it is not the right time“. In nearby future I’m planning to release other artists. In short, PROLETARIJAT is a rebellion against all that "cheapness" on the Techno scene! Datzee: I’m very honored that you made a special mix for our podcast series. I have listened and it shows your other side, the oposite of what you regularly play at your sets and clubs. I’m glad it is different, but why did you want to record this kind of mix? Sev Dah: I always wanted to play something else, that don’t fit into my sets, so I got finally the chance to do that. Opportunity came and I grab it, I always wanted to go beyond my own limits wothout restrictions. I want to prove myself that ambient and darker dance music have much more in common then people more think, same emotions and stories except the fact that you can lay on your bed or sit in your couch while listening. With this mix I wanted to connect different styles and tracks that I love and connect with drone, ambient, some bleak trip-hop and electronica, with sevdalinka style of music into one coherent story. I hope I can reach deeper, and to trigger deeper and newer emotions into the listener. And I wanted to leave a mark, some kind of longevity to the mix, and to challenge listener and myself, with traditional Bosnian folk music and newer tracks. 

 

Datzee: I wanted to ask you, do you know and are you in contact with ex-pats, people from Bosnia who also make Techno and House and other forms of electronic music? I ask you that because I want to know are they doing something special, are they giving some special touch to the scene? 

 

Sev Dah: Oh man, I suffer from that disease, so you can call me Yugo-nostalgic. I consider all of our newly created small and young countries my homeland. So I got my ears on what is going over there in Serbia, Macedonia, Croatia etc. I see lots of our producers making great trackswith worldwide reputation. I would like to mention Nihad Tule and Suncica (Insolate), both of them actually inspired me for the last 5 years. I really follow what they are doing right now, and where they at. They are also owners of labels Sloboda and Out of Place, and I regurarly play their tracks in my sets. Also I would like to mention LAG from Novi Sad, Serbia, and all I can tell you about his music: it‘s fire. I would like to give my credits and great support to the guys from Drugstore from Belgrade, Serbia, and I wish them to stay at the top of the game for the future as they usually do. We got a lot of things that goes into our advantage to move up together – like a language and state-of-mind, but there are also many things that hold that idea down. Hopefully that will change so we can achieve even bigger goals together, for the best of our scene. 

 

Datzee: I know what PROLETARIJAT stands for and message the label spreads. It is wonderfull to see that people escape from their problems with music, but what is the deeper message? Is there ethos that stands on the other side of escapism? 

 

Sev Dah: Great question. Techno is religion for me, I can see goodness in people, unity, and united we can change the World. Techno is love and respect. I want to bring people together through my music, to connect them. My primary goal is to make people loose themselves, and in the end to find something new, something better that was laying inside them. It doesn’t matter would they remember the tracks or what I played that night. Just want them to feel good, to feel love and some kind of unity between themselves. I think that is the first step to the final goal: unification. 

 

Datzee: For the end - can you give me your top 10 all-time favorites? And after that, can you name some producers we should keep on our eyes/ears in the times that comes?? 

 

Sev Dah: I’m still a big lover of hip hop, and it is very hard for me to mention my favorites in one specific style but here is the list: 

10: Fugees - The Score 9. Freundeskreis - Esperanto 8. Freundeskreis - Quadratur Des Kreises 7. Cypress Hill - Temples Of Boom 6. Kontra - Sutnja 5. Umek - Cavist 4. Gecko - Close Your Eyes 3. Hardcell & Grindvik - Square 2. Nihad Tule & Bauri - Metal 1. Amotik - Satrah

And the artist of the future, by my humble opinion: Neznan (Split) and Oetam (Rijeka).

One more from me: Loves Conquer All!

Damir Plićanić

Talaboman - The Night Land (R&S Records)

I really dig what John Talabot and Alex Boman are doing. I really dig what they did with their project/group Talaboman, since Sideral single.

                                              

On the other side it is easy sometimes to see why this collaboration is working, actually it sounds so good. They both are peers, both produce and play their own, lets say, styles of House music. I will play the game of stereotypes here, and hope it will work.

For those who don't know anything about these two guys, little reminder. Axel Boman is Swedish, extrovert House joker, one-third of Barnhus Studios label (check new Art Alfie and Baba Stilz albums - both reflects Barnhaus Studios ethos - fun, pure fun and intelligent fun), successfully combine house and pop melodies. Axel Boman's music and DJ sets are full of life, always on that sunny-side-up and reflects "Oh man, I feel so... yeah! let's go!", how I perceive Bowman character. For sure I'm wrong but it seems that Axel is always happy, never sad. But like every person he has his times of doubt and insecurity - BUT I never heard that side in his music.
On other side, there is his partner in crime John Talabot (real name Oriol Riverola), Spanish introvert who makes such a beautiful, melancholic house music, perfectionist's producer, with unique style - don't want pigeonhold him, but you know when you hear his tracks - and that means he got unique style. And you can't buy the style or try to copy it. John Talabot is also unique DJ, and I really like to listen all those mixes and podcast he has release over the years. One of the best mixes in respectful DJ-Kicks series, in my humble opinion, is his own. I still play it once per month. He release his music mostly on Hivern Discs and Permanent Vacation labels.                                                                          

 Boys on the ride of their lifetime!

Ok join them both and you got one entity called Talabomen. At the same time extrovert party music, with introvert melodies and sounds for journey inwards.
Now when I tried to present them in typical stereotypes, to show the difference in their approaches, they fit to each other like a hand in the glove. Talabomen is actually one  imaginary personality. We got one of the best house albums - in this year, so far, truly unique album made by two best producers of European house, or something called "outsider house". And yet it is not all.
In their interview they mentioned that album is: "an attempt to reach our subconscious and to document our dreams."

                        


But my vision of the album is like two friends who meet in Berlin decide to take a trip all over the Europe. After they bought some of the cheapest cars - first they travel to London - via Amsterdam, visit Brighton, and then got back to  the main land. 

                 

It's raining hard in Paris

Visit Belgium, and then get to the Paris. After some hard rest they travel trough french villages, all over down to Pyrenees, and then Madrid, also check out all small villages on their way to Barcelona, and instead of going to Ebeefa (Ibiza), they decide Portugal and Atlantic is far more better idea.


                                       

We both were in Ibiza who knows how many times, do you agree? 

So in my mind this album is all about two good friends are having fun, trying to spend their time together, driving around, meet new people, meet new places, and then write a musical diary about what they have experienced. Can it be better musical diary, in a dance music style than this? No! And for the end, cause I really want you to enjoy and let you experience the music on the album on your own. If you ask me, I had best times in my life - cause I was with them. You do not believe me? Then who made all those photos you see in review? I did it! John Talaboman and Axel Boman thanks for the ride. Next year, somewhere else???

Damir Plicanic

Not For Sale: Ø ‎– Olento (Sähkö Recordings 1996)

Dear my friends and family.
I always wanted to start a new feature: reviewing of the old records (mostly CDs) that stood Test of The Time!!!
My old friend and colleague (both electronica fanatics, but his passion is Psy/Goa Trance - imagine that, he is in his 30s and still plays Psy??? Common dude. Just kidding DamZah, check his soundcloud and mixcloud, great DJ with lots gigs per year), asked me, why don't I write about all those classic albums that we used to speak about for hours, and both agree that those artifacts from past/future deserve re-thinking.

Tell us what album DO YOU think is ELECTRONICA classic??? please send your message, communicate. I'm sure we would agree.
 I could pick any Vainio's works, but this one was first and also have sentimental value, it is not for sale. No.

 Ø ‎– Olento (Sähkö Recordings)

                             

Unfortunately Mika Vainio is dead, people talked, analyze his work and wrote a lot more (just in two days), than I will ever write on this blog. They wrote about of what Mika Vainio did and his legacy, and discography, but my favorite writing is form author who called him the "Nordic King Tubby", with intriguing info, and I will quote same author from The Wire: "It’s not clear exactly how or why he died; the reasons why he ended up alone on a cliff on northern France on 12 April remain unexplained".They have better expertise and they get money to write about it.
So I will not!!! I'm here to write about what this special album did to me, and how still resonating and sounding so futuristic and mind blowing. But we will talk about the past. We must, but not about Vainio's past. I must touch all those themes that got nothing with music, but certain situations. Also there will be about the music, I promise.

                                          

Mika bringing the noise with Ilpo Vaisanen - as Pan Sonic

Imagine, fresh from high school, I started my university years.They used to call me walking catalog number, cause I knew almost every catalog-number of the record I held, listen, or read about it, I even knew year when something was released - I was still so hungry for information. And when I thought I got everything in my little finger...

One of my friends, Bosnian ex-pat, out-of-blue, send it to me, via his mom, three CDs, and I still remember: Add N to (X) - On The Wires of Our Nerves (synth-pop, electroclash before Electroclash, funky break-beats with modular synthesis, and all on max distortion, and punky vocals), second was (all hats down to) Jimi Tenor - Utopian Dream (still one of the most futuristic jazz and synth pop album, ever made) and something I couldn't even read on the cover, Ø ‎– Olento.


                                              

I wasn't ready for it, at that time, and this album was, at least for me "avant-garde-of-avant-garde" of electronic music, last frontier -  something I don't understand. I knew I have to immerse myself into Olento, to be in perfect mood and environment to listen to, get it in to my ears, my mind. It was very slow and delicate process, and believe me, it is still in progress.

Album starts with miniature track that contain sound of those clockwork toys (wink to Richard D. James), and then suddenly out-of-nowhere there is that sound like glaciers are moving far away, that you can feel, instinctively fear, in your stomach.Track Hallitaajuus is nothing but the low frequency drone, but if you listen carefully, there is some strange sound or "melody" in the background, like a secret message. Youngster like me was thinking: "that was it?", but it is great introduction into next track Tila. Nine and half minutes of vision: pure and empty place, like valley that stretch as far as eye can see, with clouds that give some strange light brown on the surroundings around me, and all stand still. Ilta is also a beauty, minimalistic melody that reminds of dub techno, and also that low frequency of moving glacier, but less loud.

Stratostaatti is classic track from this album, with the bleep sounds like lights of alien probe in the woods, with half-rhythm, and it's getting even eerie when quite dramatic sound simply fade-in. Perfect for watching night sky (with no clouds if possible), in the cabin somewhere in the woods, without artificial (city) lights - maybe a candle. I like another miniature, Kunnes, which is nothing but Mika's playing with some low frequencies, and also that "dot-dot-dot" sound, that Raster-Noton championed in some of their releases.

Ohipumppu, imagine that, have 4/4 rhythm, perfect for DJs who prefer minimal techno, pardon micro minimal glitchy dance music. Well Kaskaat is hell-of-a-track, with sounds of crickets and other insects (for sure field recordings), with weird half-rhythm (again) and drone tone - then in the middle of the track another eerie melody comes in, and to be alone, in the cabin, in the woods doesn't sound like good idea. Wrong! Track is great, cause you can hear that Vainio plays (with the toy) with those samples, interchanging sounds of insects.



     

         Just a regular Mugwamp relaxing at the bar

Mugwamp as I know is a creature from book called Naked Lunch by William Burroughs, that looks like insect, likes to drink and suggest our main character to leave USA, and go to the Interzone... yes Mr. Burroughs can be such a inspiration. And I think this could be soundtrack for Mugwamp porn, except if Mugwamp means something in Finnish. But track is cracky, minimal and glitchy, with some spaced-out sounds from modulator. With that, I tried to explain dot-dot-dot sound, but here again: if you can imagine a sound, imagine small dot, like pixel or less like this "." - try to imagine what it would sound like. Two tracks Throb-s and Tutkama are faster minimal techno, and with all those bleepy sounds, and the rhythm, I think could easily fit into, what we call first-wave-of-minimal-techno-in-the-90s.
                                       
What is important here? First of all, this album thought me to be patient and to listen, to really focus my ears on small details (that "dot.dot.dot" sound??), it opened my mind to sounds that will come after, and embrace it. Also I learned how pure drone, or simple melody can change atmosphere in sound and in place where you are listening this music. How sound sometimes can gave you physical sense of space - with just listening. Or how can texture of sound can effect your imagination of emptiness and vastness.

                               

   Me listening to Ø ‎– Olento for the n-th time.

Once I said that Mika Vainio's music is equivalent of Monolith:
First when someone ask me how to describe most of Vainio's music, I would like to say to that individual to try to imagine to touch the Monolith and feel his texture. I mean really try with all your sense to describe what do you touch. Can you describe? For me: it is cold, without any sign of work on that material, perfect slide texture, microscopically without any roughness, and perfectly clean, without any reflection of light - even it absorbs, swallows the light that touches it - I'm far away but closest thing to my mind and senses it would be the marble, but multiply marble 1000x and wouldn't been not even close.

Second explanation: If you watched 2001: A Space Odyssey - yes it was Monolith for me, the homo sapiens, and after I touch it, examined with my mind I gained possibility to understood more music, to give a try to, understand music as art form. To try to change my view, my perception, my mind.
I still get confused, and still can't understand everything, but that was moment when mine real journey begin - to listen, feel, absorb, think and contemplate: the music.

Third, the most important, I write a glimpse of it in the text if you scroll a little bit up. It gave me a lesson how to listen the (certain) music. To listen with body also. How those anti-melodies, anti-sounds, create such a space... and most important how they affect me? How can I find the meaning and musical satisfaction in dot.dot.dot.dot.- well maybe there is no message!? Maybe it is all about sound-design or is it all in certain situation, moment in which I listen to dot.dot.dot.dot.dot

Maybe I didn't learn anything - at all!!!

Thanks again Mika Vainio. Your music will be listened for ages to come. Just like Monolith, it would last forever.



                      






 dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot.dot 

Damir Plićanić                             

Mixes of the Week(s)

Hello dear readers!!!

In this feature we have listened and then listened again some Dj mixes and now we can recommend to YOU some of the best mixes we heard from the last time. Of course we weren't online for some time, but regardless that, we cherry pick some of the mixes we think they might be great listening experience for you.

We will also try to explain why we choose them, and say some kind words about their makers - the DJs.

Here what we choose:

Mysteries of the Deep - Patrick Russell -KYYNELIN 1 



Sadly, one of the greatest experimental, ambient, noise, or and iconic figure in electronic music, Mika Vainio has passed away, he was 53 years old.

By our humble opinion Mika Vainio, also known as Ø or Philus, Kentolevi, Takonivel one part of iconic group Pan Sonic, was musical Monolith. At least writer of this lines can describe his music as Monolithic (we plan to review one of his early albums, but that is another topic in near future.) He worked with people like Ilpo Väisänen and Sami Salo (as Pan Sonic), with Alan Vega (Suicide), Vladislav Delay (Vladislav Delay Quartet), Gagarin-Kombinaatti, Rancho Relaxo Allstars, Charlemagne Palestine, Merzbow, Keiji Haino just to name most popular ones. He mostly released his solo records on Sähkö Recordings, and Raster-Noton, PAN, Blast First, Editions Mego, just to name a few. Always radical, his music ranged from noise, drone, avant-garde electronics, actually it is not easy to put genre label on his music. Always working, he left behind huge catalog of music - so just try to immerse yourself into it. I think you will find incredible music. His latest works include Mika Vainio and Franck Vigroux  "Peau Froide, Léger Soleil" (Cosmo Rhythmatic), "Reat"(Elektro Music Dept.) and   "Tectonic Plate" (Ideal Recordings)

So the people from Mysteries of the Deep and Patrick Russel decide to make a mix specialy around his ambient work, and this is what they said:

"Mysteries of the Deep Podcast, Kyynelin 1 by Patrick Russell.

A heavy-hearted tribute to the sonic design and emotional potency of Mika Vainio, here exploring a brief cross-section of his vast ambient and experimental catalog. Mika shaped how I perceive and present music. His work was, and will continue to be, an incalculable influence on my sets at Mysteries of the Deep and beyond. Rest in Power.

Kyynelin 2 will be a tribute to his more aggressive, floor-friendly sounds, presented in a live context only."

Tracklist:
1. Ø - Radio
2. Mika Vainio - Hengityttajä / The Breather
3. Mika Vainio - Jos (If?)
4. Pan Sonic - Kylma Massa
5. Ø - Kohta
6. Ø - Hikari
7. Ø - Monneista Viimeinen / Last Of Catfishes
8. Pan Sonic - Etaisyys
9. Pan Sonic - Alku
10. Ø - Kentta
11. Pan Sonic - Aleneva
12. Ø - Stratostaatti
13. Ø - Set The Controls For The Heart Of The Sun
14. Ø - Kohta
15. Mika Vainio - -27
16. Popol Vuh - Nachts: Schnee (Mika Vainio Remix)

                                                    Mika Tapio Vainio

                                                             (1963 - 2017)

picture by: josephine michael


OSM 020 - Finn Johannsen



OK class, today we will learn dance music history and how to mix it. Profesor Finn Johannsen will show you, actually listen how to make everybody dance on any occasion. Anyone who can stand on their feet, even those who can't, will make some kind of moves due to music Mr. Johannsen present to you. So "dance music" is such a large category and span from, in this case from 70's till today. From funk to punk. Listen carefully and you could for example: make some random grandma dance to your music gig at someone's wedding.

I can surely say it works, cause I secretly played this mix to my future father-in-law and his Deep-Purple-loving friends. They didn't realize I turn this mix secretly, they thought it was radio. At beginning they just nod their heads and slap their feet on the ground. After few drinks they even start to casually move their bodies and have good old fun, to talk, eat cheese and drink beer.
A true lesson from a man who is walking encyclopedia of dance music. Don't forget to relax and have some fun. I'll bet you will have a blast.



Drifting in Space by Funky_Jeff



"A music junkie, sometimes DJing at some places, a radio show host at CHYZ (Where I’ve had funk and ambient shows) and an avid record collector. Music I like : funk, jazz, new wave, electro, house, Detroit techno, ambient, dub, deep house, soul, post punk, and classical." - Funky Jeff about himself on his blog.I would love to be friend with this guy. In Vivo!
 First of all we share common interests like DJ-ing, music in general, Space and science fiction... and conceptual Dj mixes. His, as I like to call "space program" DJ sets, are ambient mixes with Space as major concept sets you in specific condition: feeling that you float around space station, or exploring new solar systems, watching wonders of Cosmos or just travel "shape shifting from place to place, banding time, curving space..."
His mixes are very special for me, it sets me in special mood, right before I'ready to fell asleep and dream.

This one Drifting in Space mix is no exception. Filled with dreamy, space tracks and samples from random communications between astronauts. Those who have problems with sleeping, who need something to focus their mind before they get to that pre-dream state, or perfect soundtrack for reading classic Science Fiction classics. You can hear he have experience with programming the sets with right tracks, execution. It all gives such perfect result.

Also, if you check his soundcloud  you can find sets tribute to certain artists like Massive Attack, Aphex Twin, Drexciya, Boards of Canada, Global Communication and my significant other/future/wife's favorite 2hrs tribute mix to Biosphere.
Also he made special funky, soul, dub sets.

Check this guy, all I can do is highly recommend it to you. He is  professional, and on other hand he is genius.

Blog, facebook page, and you can start exploring Funky Jeff's out-of-this world.

Man... I really love this guy's mixes. Cheers Funky One!!!



Clubberia podcast 284: Petre Inspirescu




"Oh, minimal is dead, no minimal is alive." Quit that argument! Music is good or bad, no matter what do you call it these days. Yes I could talk ages about certain style/movement in techno history. I always loved good minimal techno or micro-house (oh my headache!!!) tunes and mixes. No doubt.

But there is country, actually a scene, where people don't think about it, and specially don't care how do you call their music. Romania and it's specific techno/house style will here to stay. There is something in the water that nice peeps from Romania drink and you can hear that in their music. Yes it is minimalistick, with constant deep locked groove, melancholic melody, that lead to hypnosis. And people love it, people producing it. I don't think it is only in Romania, but from my point of view, girls and boys live it that way, and it is phenomenon directly connected to this country.

When we talk about that certain style of electronic dance music, the most important export items, are... well I hate these capitalistic words. lets try again, shall we? The most important figures that came from that scene are guys known to the world as [a:rpia:r]: Rhadoo, Raresh and Pedro Inspirescu. and I must say they were under the wing of grande brujo Ricardo Villalobos, and when that moment happened: the explosion of minimal house/techno in mid 00's, they become one of game biggest draws. Just like Ricardo, they adopted his modus operandi: they rarely give any interviews or promo shootings, or any kind of modern promotional stunts. They simply don't need any. They let their music (magic) do things for them. All that "wall" of mystery give them possibility to do what they want to do - practicing musical magic were ever they perform. Their real success is that they used they popularity to move focus on other people, who do the same thing - and that is why Romania has such unique and strong minimal/micro house/techno scene, not only in Europe, but the whole world.

When I mentioned [a:rpia:r] earlier, one of those three guys, really caught my attention - and it was Petre Inspirescu. His music isn't much different from two others, but if you listen closely and match it with two other guys, you will find Petre Inspirescu much more melodic, with much more strange bass-lines, even chords and harmonies are complex then others. Of course it is not pissing contest, or who have larger one (pardon!!!), but I'm trying to give you my impression on Petre Inspirescu.

Just close your eyes and listen closely, maybe you will found something I didn't, and I hope you will be amazed - like I was.  
And here is the end of thought of this mix. Romanian scene is getting stronger, and more and more people are releasing more and more different music right now. After all it is not all the same in "minimal nation" and it would never be.


JD Twitch (Optimo) - Balearic Rhythms:

It is very hard to talk about Optimo, when my first review of their fabric mix was full of my snobism and lack of knowledge who and what Optimo are, and what they are doing and represent. I feel shame about that review, but I was young. Luckily for me that review was for one mag/portal that doesn't exist anymore.

But let's look at this masterpiece here. It is release like 90 minutes cassette with two sides, and it could be yours.

JD Twitch gathered, at least for me, lots of obscure to identify EBM tracks, that JD has collected through the decades. And he show his knowledge and the will to educate people. I hear EBM, no-wave, post-punk, synth/dark wave, industrial, sounds-like-Chris-and-Cosey, Depech Mode dub, and other genres. Records that should satisfy young and free who maybe dream about  Ebeefa (Ibiza, yes I know!) and Amnezia during 80s.
What is most important, we can dance our asses of to it now in pre-apocalyptic world of 2017.
I could write this down and just say three words: free-minded, exotic and educational. And his DJ technique here is incredible, constant building the tension, drop, rising and aggression.

Be happy to have this on soundcloud cause on original release of the tapes, these was written:
 "2 exclusive DJ Mixes from JD Twitch, exclusive to Monorail, limited to 100 on C90 Cassette. Screenprinted inlay."


Damir Plićanić

Thundercat - Drunk (Brainfeeder)

                                          

“I feel weird. Comb your beard, brush your teeth. Still feel weird

Beat your meat, go to sleep.

I think I left my wallet at the club!!! Jesus, take the wheel!”

- Thundercat - Captain Stupido

I could easily say that this album is perfect for falling in love, holding hands, watching sunsets, early mornings. Ideal for seasons changes when you throw your scarfs and heavy jackets, and start wearing lighter clothes... There is always "but"...

                                      

But it is so much more… It is personal musical confession of a man who is in love with music, his Ibanez six (or more strings) bass guitar, manga/anime connoisseur ("Gonna blow all my cash on anime, yes! Don't try to stop me 'cause i'm over 9000. Just point me to the pachinko machines. I think I'm Kenshiro, I think I'm Goku. Can I just stay one more day?" - Thundercat - Tokyo), plus long time friend and collaborator with Flying Lotus (Godfather), Daedelus (dandy technology freak who make his own synths and instruments), Gaslamp Killer (most blunted lover of psychedelic rock and jazz from all around the world, and hip hop academic) and one of masterminds behind Brainfeeder label/party/movement. 

                                           

Brainfeeder became collective of music open-mind  musicians and fans and who throw parties called Low End Theory, in the beginning with “open mic” concept, where anyone could make their (debut) before crowd. You could do anything, play anything, only if crowd respond to it.
                                               
And then, suddenly most celebrated artist Flying Lotus and his signing with Warp for an album Los Angeles, and his BBC Essential Mix - all happening in the same time, created such a buzz. That buzz turned the heads around the world, and suddenly whole music industry discovered small and dedicated scene full of artists – who didn’t give a… about fame. But they are here. The thing is that you can’t describe the sound of Brainfeeder, every musician/artist has his unique sound (and vision). Everybody went in their own musical wonderland. But they all worked with Stephen Bruner.

Steven Bruner aka Thundercat is the wunderkind, one of the kind, multi-instrumentalist, producer, singer, and bass player – but what a bass player. Before Drunk he already have three releases under his moniker. Also add to his CV playing with Suicidal Tendencies, actually their three albums, how about that!?  In musicologist-serious-music-journalist-wannabe words: imagine Miles Davis from On the Corner phase, with Steve Wonder's Songs in the Key of Life, meets Madlib and J Dilla, and add little bit of dreamy Californian psychedelia. He even sings: "Everybody wants to be a cat. It's cool to be a cat. Everything the light touches, it's where I will roar. My roar would be so powerful. I would scare off everything!" 

Bruner with such easiness combines free/spiritual jazz with pop and hip-hop. He is so sonic healthy, like an onion. Every time when I listen to Drunk, I find a new layer - that can be one second of the beat, new sound that wasn't there before or some chord changes, or new instrument in the background, or even some new meaning to the lyrics. Oh and his lyrics... he is such amazing poet. He touch things like negative sides of social media, how literally change our moods: "From the minute I wake up I'm starring at the screen, watching the world go insane. Gotta stay connected so I know what's happening, in these streets. Thank God for technology 'cause where would be if we couldn't tweet our thoughts? Won't you leave some things to mystery?", or consumerism and conformism ("You are so drunk, you miss it all, yay. Just make sure you have the right Jordans on, or be left behind to rot and die. Face down the gutter"), of course the climate change and environmentalism: "Oh 'cause look at the mess we've made. Who's gonna clean it up? Oh my God, where's Captain Planet?") Also want to mention song about finding Knowledge with capitol K, named Blakkk with lyrics combining with instrumental and voice that send chills through my spine: "...Take me to the highest mountain and the lowest seas...I want to experience all the light has to offer me... Bathing in your glow. Patterns in the light! Pressing your frontiers! Totally reborn!!!"

Ok for the great balance early mentioned educational and self-consciousness and world awareness there are pretty nice relaxed tracks like Tokyo (about that megalopolis), Friend Zone (we all been there hahaha), or slow-chill-man-dude-take that-drink-and-hug-your-love-one Show You the Way.


My significant other (Irena, I washed the dishes and made the lunch for you, before I started to make this review - true story) asked me, would you ever write review about some album that you didn't like, maybe to show people that there is so much hype about certain artist(s) but their last album was shit. Well honey I will. But first I must tell the World about this beauty on wax. Music is great, remember I said it is for both worlds: serious music lovers who want something special, and those who don't care what they're listening, or they just turn their top 40 radio station (you know those people, they are your family, friends, co-workers and passers-by on the street).
Yes, it went in shops in February, like a perfect background music for May and April, but for me, like Drunk's predecessor The Beyond / Where the Giants Roam EP, it will stay in my heart and soul for-ever. A spaceship to planet called Drunk.
Now I must choose words wisely cause, I glorify this album all the way: cause it's bare emotion, and you can't escape it's easiness and then discover it's depth - just as you can't escape first beam of Sun when you open your eyes in the morning... or afternoon, depends on your style of life. Even in night you will catch the glimpse of light beam from planet Drunk. 

meow-meow-meow


Damir Plićanić

Here We Go Again!

Hello my dear readers, friends and family. Datzee blog spot is back! For now, hopefully for good!

We are now in period where we are working on new, more sophisticated blog, project named Datzee blog 2.0. But until then we will for sure continue to spread love for music, art, make new friends, write reviews, posting podcasts... and again, LOVE.

!IMPORTANT
1. If you want to review your new music album, LP or EP contact us, send message, or old fashioned way damir.plicanic(at)gmail.com!!!
2. If you want to show the world your fascination with music, and want to share with us, and also like to mix, or make mixtapes for your friends, sent us (only exclusive, please don-t send us something that was already uploaded or share somewhere. From Death/Doom/Extreme metal over Breakcore, to Synth-Pop or Hip Hop, over Ambient till Techno and House: please send us your (for datzee podcast) on this blog as the message, or old fashioned way damir.plicanic(at)gmail.com or simply with letters and through post-office.
3. If you have any ideas you want to share with us or simply get in touch, you know the drill!
Contact over the blog, write email on damir.plicanic(at)gmail.com
 

So, for a fresh start I would like to share my new mix, just for you. If you want a tracklist? We will provide it. If you want to download it? We will make download link.
For now this is it. More fun and words are coming your way. Please, we would like if you comment, share or simply want to do something with us. We are here and please come by and say hello or what a bad review or podcast. or YOU Datzee SUCK, BITE IT YOU SCUM!!!

Only Love!!!