Mix Mag The Real Info – NSI , Tobias Freund , chill out , electronic music , experimantal , podcastAnother podcast for us is made by a truly non-standard person – Tobias Freund.
PODCAST # 10: TOBIAS FROUND
Tobias Freund (Tobias Freund) – one of the representatives of the German techno-community formed around the clubs “Berghain / Panoramabar”, but frankly, its most versatile representative. His name will come across to you in connection with several projects of experimental electronics, including NSI, Non Standard Institute, a creative association with musician Max Loderbauer, which released last year an album on one of the most daring and avant-garde labels in Europe – Sähkö Recordings . They took an active part in the work on the Shut Up and Dance! Project, which combined ballet and electronic music. Tobias himself founded the Non Standard Productions label in 2006 and took the name for the credo – nothing standard or commonplace! His mixes will appeal to not everyone, because everything can appear in them, from the old IDM to the ringing of bells, but they clearly and retrospectively demonstrate the immensity of truly good music ever written by man.
Tobias owes his musical sensitivity to a profession: by his main occupation he is a sound engineer. As for his own productions, the new track “Balance” opens the epic work of Marcel Dettmann (Marcel Dettmann) “Berghain 02”, which will soon go on sale. The first part of the series, by the way, was made by none other than the closest relative of Tobias Freund – his wife Cassie (Cassy). Do not forget about Dettmann, whose podcast you are probably tired of listening to. In a word, the circle finally closed … but they clearly and retrospectively demonstrate the immensity of truly good music ever written by man.
Tobias owes his musical sensitivity to the profession: he is a sound engineer by his main occupation. As for his own productions, the new track “Balance” opens the epic work of Marcel Dettmann (Marcel Dettmann) “Berghain 02”, which will soon go on sale. The first part of the series, by the way, was made by none other than the closest relative of Tobias Freund – his wife Cassie (Cassy). Do not forget about Dettmann, whose podcast you are probably tired of listening to. In a word, the circle finally closed … but they clearly and retrospectively demonstrate the immensity of truly good music ever written by man.
Tobias owes his musical sensitivity to a profession: by his main occupation he is a sound engineer. As for his own productions, the new track “Balance” opens the epic work of Marcel Dettmann (Marcel Dettmann) “Berghain 02”, which will soon go on sale.
The first part of the series, by the way, was made by none other than the closest relative of Tobias Freund – his wife Cassie (Cassy). Do not forget about Dettmann, whose podcast you are probably tired of listening to. In a word, the circle finally closed … As for his own productions, the new track “Balance” opens the epic work of Marcel Dettmann (Marcel Dettmann) “Berghain 02”, which will soon go on sale.
The first part of the series, by the way, was made by none other than the closest relative of Tobias Freund – his wife Cassie (Cassy). Do not forget about Dettmann, whose podcast you are probably tired of listening to. In a word, the circle finally closed … As for his own productions, the new track “Balance” opens the epic work of Marcel Dettmann (Marcel Dettmann) “Berghain 02”, which will soon go on sale. The first part of the series, by the way, was made by none other than the closest relative of Tobias Freund – his wife Cassie (Cassy). Do not forget about Dettmann, whose podcast you are probably tired of listening to. In a word, the circle finally closed …
ENGLISH VERSION BELOW
Club: Club Der Visionaere / Panorama Bar
First purchased record: David Bowie “Diamond Dogs”
When (where, how) you started DJing: I’m not a DJ! I can record at all sorts of special events, like friends’ birthdays, and in most cases not dance music.
The number of records in the collection: 650.
Role Model: I respect so many, but there is no role model.
The most important thing in mixing: Mixing.
The biggest fear: I do not worry and I am not afraid very much, except to lose someone!
Always on the go: Kiehl styling gel.
The track (s) you are currently working on: I just released a new single, and here the summer has come, so I have other things to do besides music.
Music is … Messiah of communication.
5 favorite records:
1. Pierre Boulez, Notations – Figures – Doubles – Prismes – Rituel, Orchestre National De Lyon
2. Olivier Messiaen – Complete Works For Piano
3. Cassandra Wilson – New Moon Daughter
4. Magazine – The Correct Use Of Soap
5. Richard H Kirk – Virtual State
1. Mum – Flow not so fast
2. Sketch Show – Summer place
3. Dictaphone – Outside
4. Vinicius Cantuaria – Sol na cara
5. World Standard – Loving spoonfull
6. Takagi Masakatsu – Everything started from here
7. Kirk Degorgio – 10
8. Señor Coconut – Blue Eyes
9. Jan Jelinek – Silver
10. Takagi Masakatsu – Bienna
11. Sketch Show – Reform
12. März – 08
13. Dictaphone – La piscine
14. Mum – Now there’s that fear again
15. Takagi Masakatsu – 12
16. Sketch Show – Do you want to marry me?
MixMag.info: It’s quite rare to find someone who writes and records music at the same time. There is some kind of prejudice against this. Well, just as a literary critic will never write a novel, a sound engineer will not call himself once again a musician. You manage to combine both that, and another. Does Tobias Freund, the musician, interfere with the sound engineer? How do you feel about the sound yourself – as a material from which you can mold a composition?
Tobias Freund:When I started listening to music, I immediately realized that there is always something more than just a song and the person performing it. In some songs, I liked the sound. Voice, melody – all this is wonderful, but for me it was still important how the instruments were recorded, how they fit into the stereo panorama. It was always interesting for me to hone the sound and sculpt a piece of music from it, one without the other does not exist. I don’t think that in our time it is difficult to find a musician, performer and sound engineer all rolled into one. I know some musicians who try to do everything themselves. Sometimes they succeed, but more often than not. There is special equipment and programs that actually replace everything you need to record a full-fledged composition, from beginning to end – even if you have no idea how to handle some plugins or sounds. It seems to me that people are becoming too lazy and impatient. Of course, this is a matter of money and trust, but only that piece of music that is made with care is durable.
MM: You have been involved in a wide variety of musical projects since 1980. But how did it all begin, what were your first steps on this path?
TF:My first step is radio performances at school. In 1980, I bought my first synthesizer, the Korg MS20, paired with a school friend. And together we began to experiment. We never aspired to become famous pop stars or something like that, we just had fun, wanted to understand how everything works. And when I graduated from high school, I went to look for a job in a professional music studio. 7meter There was a sea of new equipment, and I used it in my free time, recorded some instrumental substrates, for myself. I worked at the studio for more than 20 years as a sound engineer, dealt with some very successful projects like Milli Vanilli, Meat Loaf, La Bouche, No Mercy … I never had a desire to go deep into writing music, it was just a job – money making and access to professional studio equipment. But of course, I began to understand what should sound, and how should not. At the same time, I was recording something at home, and there I was already doing everything for myself, for the sake of music, and not for money.
MM: Well, well, returning to the question of projects, it’s interesting to know if each has a separate concept?
TF: The only idea behind all my projects is an attempt to try as much as possible. I am interested in working with different people and watching the result of this work. Or, for example, it’s interesting to just temporarily replace the main sequencer in my setup, to drop out of the routine.
MM: Any thoughts on a joint project with your wife, Cassie?
TF: We are already working on it, but I don’t want to rush, I need to devote more time to this. Now we are both busy with our own, third-party projects. I hope to record some work with Cassie this year. They will be very different from everything we have done so far.
MM: The avant-garde music of the 20th century is a rather long history of searches and trials, from the very beginning, even from the movement of the futurists, the musicians tried to experiment, find a new sound, a new form. Do you think that now the search has come to an end and nothing new will appear?
TF: No, I think there is still a lot to come. I would like to know what awaits us in the future …
MM: Tell us a little about the NSI project. How are your performances with Max?
TF: We have already performed several times in different clubs and there we used analog equipment and two computers. But now we are working to completely abandon computers. We were offered to play in Krakow at the end of the year at one festival. I think there we will limit ourselves to the piano, a pair of synthesizers with analog modeling, a drum machine and several devices for creating effects.
MM: Can any music be written using computers alone, or are there areas where they are powerless?
TF: Probably, computers cannot submit an idea, they cannot complete it and finalize it.
MM: The name of the NSI album, “23 Pieces For Piano”, “23 Pieces for the Piano”, may recall “Pictures from the Exhibition” by Modest Mussorgsky, the famous suite of ten pieces for the piano, written in 1874. Did she inspire you for this album? Or maybe some other classic piece?
TF: Actually, Max is an excellent keyboard player. Once he played Bartok’s play at home on his electronic piano, and from that, in fact, it all started. We are both very passionate about classical music, but we would never copy the concept. Classical music gave us inspiration just like techno, ambient or punk rock.
MM: Can you name a few musicians who, in your opinion, also play “non-standard” music?
TF: Honestly, non-standard music seems to be standard for me, because most of the music I listen to is “non-standard”. I think all the musicians I deal with at work can be attributed here.
MM: Which bands playing non-electronic music would you mention?
TF: I really like this project, The Baka Forest People (http://www.baka.co.uk/baka/), a tribe from South Cameroon. They use their own music to communicate in dense forests. It is so great to listen to how they gather and sing – both children and adults.
MM: What are your plans for the near future?
TF: I just recorded a new record called “I Can’t Fight the Feeling”, it is released on the Wagon Repair label in late May. In addition, a fresh release from NSI is coming, which I will release on my own label, Non Standard Productions (Nsp 04).
Your city. berlin
Your club. club der visionaere / panoramabar
First record bought. bavid bowie, diamond dogs
When (where, how, etc.) did you start deejaying? I am not a dj! I only put on records for special events like birthdays for friends and then mainly non dance music.
Number of records in your collection. 650
Role model. I admire a lot of people but I don’t have a role model.
The most important thing while mixing is … mixing
My strongest fear is … I am quite relaxed and not afraid of too many things besides loosing someone!
Thing, which is always with you on the journey: kiehl’s styling gel
Track you’re currently working on: I just finished my new tobias. ep and summer arrived so I take care of other stuff than music.
Music is … there for to communicate.
Your top 5 records: (of the moment)
1. pierre boulez, notations – figures – doubles – prismes – rituel, orchestre national de lyon
2. olivier messiaen, complete works for piano
3. cassandra wilson, new moon daughter
4. magazine, the correct use of soap
5. richard h kirk, virtual state
MM: There is a strong prejudice against recording and creating music, and just as a literary critic would never write a novel, it’s not so easy to find a music engineer who is into his own productions. What is the philosophy of sound behind Tobias Freund as a musician? What is your consideration for sound, for music? Do you feel that a sound itself is a material to be reshaped and restructured for to be built up into a composition?
Tobias .: Soon after I started listening to music I realized that there is more to it than just the song or the person who is performing it. Some songs I liked just because of how they sounded. Voices and melodies are creating a special feeling, but for me it’s also the way the instruments are recorded, processed and placed into the stereo panorama.
I’ve always been very interested in the combination of shaping sounds and developing a musical piece, it belongs together. I don’t think it is unusual nowadays to find a musician, a producer and a mastering engineer all in one person. Some musicians I know try to do all by themselves. Sometimes it works out, but most of the times, it doesn’t. There is music software, which provides almost everything relevant to produce a song from the start to the end. Even if you don’t have any ideas you can use some pre-programmed sequences or sounds to write a song and master it afterwards with pre-programmed plug-ins. I think people are getting too lazy and impatient. Of course it’s a matter of money and trust, but only a musical piece that is produced with care can last forever.
MM: You were involved into quite a range of different musical projects since 1980, what were your first steps into music, how did it all start?
tf:My first step was a radio play in school. In 1980 I bought my first synthesizer a korg ms20. together with my school friend Lars I started doing sound experiments. We were never interested in becoming famous pop-stars, we only wanted to play around and try things out. After I finished school I started working in a professional music studio as an apprentice. There I was surrounded by a lot of new equipment which I would use in my spare time to record stuff that I could use at home as backings. I was working in the studio for almost 20 years, engineering and mixing some successful productions like Milli Vanilli, Meat Loaf, La Bouche, No Mercy … I never wanted to get involved too much in these music productions, it was a job, more or less to earn money and stay connected with high-end studio equipment. Of course I learned a lot about how things should or can sound. At the same time I was developing my musical interests at home. I thought I wanted to create something connected more to music than to money.
MM: Okay, then returning to the first question, is there a different philosophy for each project you are into?
tf: The only philosophy behind all my projects is trying out as many different options as possible to produce music. It’s quite interesting for me to work with different people and look at the results. Or sometimes it is nice to for example to change the main sequencer in my setup, to change the routine.
MM: Do you think of organizing a project with Cassy?
tf: We are already working on some music together but I want to take some more time for that. Right now we are both developing our own projects. I am planning to finish some music with Cassy this year. It will be very different from the music we did so far.
MM: The 20th century’s avant-garde music has a rich history, and from the very beginning of the futurists movement throughout the century musicians were in search of a new sound, a new form. Do you think that this search is over now and there’s nothing new to achieve?
tf: I think there is still a lot to achieve. I wonder what the future holds …
MM: Is there anything in music that cannot be produced by computers?
tf: I guess computers can’t start or finish developing an idea.
MM: Does NSI perform live? If it does, how exactly is it arranged?
tf: We have already played several times in different clubs. We used some analog machines and two computers, but right now we are working on a performance without computers. We have an offer to perform in Krakow end of this year at a festival. We will probably be using a piano, some module synths, a drum machine and several effect units.
MM: The title of NSI’s album, “23 pieces for piano”, recalls “Pictures at an Exhibition” by Modest Mussorgsky, which is a famous suite of 10 piano pieces composed in 1874. Did you look behind when working on the album? Maybe inspired by something?
tf: Max (Max Loderbauer) is a very good piano player. He once played a piece of Bartok on his electric piano at home, and actually this was like the start of the idea to do some piano tracks. We are both great classical music enthusiasts, but we would never copy a concept. We are inspired by classical music in the same way as we are inspired by techno, ambient or punk.
MM Who to your mind among the musicians also produces non-standard works?
tf: Actually non standard is for me the standard because the music I am listening to is mostly non standard. I think all musicians I am working with are producing kind of non standard music.
MM Is there any non-electronic musicians, or groups, or albums, or composers of your favorite?
TF: I really admire the music of the Baka Forest People of Southeast Cameroon. They developed their music to communicate in the forest. It ‘s so beautiful to hear children and adults interacting and singing.
MM What are your plans for the nearest future?
tf: I just released my new tobias. ep, it is called ‘I can’t fight the feeling’ and it’s out on wagon repair (wag 040). I also finished a new NSI. EP with my partner Max Loderbauer, this one I will release on my own label, non standard productions (NSP o4).
Thanks to Rustam “Ru” Israilov for participating in the preparation of the interview.
Photos by Stefan Freund
|SCIENTIFIC FANTASY OF IMPROVED QUALITY FROM SLAM||+11 day|
Slam , Soma recordingsTechno house duo Slam, the owner of the famous Scottish label Soma Records, recorded the next part of the compilation “Sci-Fi-Hi-Fi”.
A slightly strange series of mixes from the Scottish label Soma was continued. Strange, because she doesn’t seem to have a face. Of the first four episodes of Sci-Fi-Hi-Fi, it’s hard to remember anything meaningful, although invariably very worthy and respected musicians and DJs are invited to record mixes in this series. After Ewan Pearson, Luciano, Alex Smoke and Funk D’Void, the founders of this series and the Soma label themselves, Stuart McMillan and Orde Meikle, got down to business. better known as the Slam duo. They recorded exclusively a club mix, including fresh material selected over the past year, and adding tracks of new people to Soma and their own Slam material from their new Paragraph label. They say they’ve dedicated Sci-Fi-Hi-Fi Volume 5.
Slam’s “Sci-Fi-Hi-Fi Volume 5” mix release via Soma will be released on July 7th.
01 Rom1F – PI Kiss The Sky (Claro Intelecto Remix)
02 Social Material – Class (Loco Dice Mix)
03 SIS – Orgsa
04 Plasmik – Pearls On A String
05 Matthias Meyer – Tout Va Bien Butkickneu3
06 Matthias Tanzmann – Keep On
07 Anderson Noise – Londrina (Daniel Carboni and Alessio Mareu Remix)
08 Jandroide – Grande Coracion
09 Prompt – Evolve (Original Mix)
10 Decimal – Eleanor
11 Funkwerkstatt – Sputnik
12 Poxy Music – War Paint (Claude Von Stroke Mix)
13 Slam – What’s On Your Mind?
14 Danton Eeprom – Face Control
15 D’Julz – Just So You Know (2000 and One Remix)
16 Cle – Nomads (Mathias Tanzmann Remix)
17 Tigerskin – Push The Patton
18 Mauro Picotto – Flashing
19 Slam – City Destroyer
|Tenaglia releases a double mix||+12 days|
Danny Tenaglia , Danny Tenaglia , Freestyle Records , RenaissanceThe famous American DJ and musician adds to his forthcoming album a double DJ mix, which, like the album, will appear in late summer.
After announcing that Danny Tenaglia was preparing his new album after 10 years of studio lull, the American lost his temper. Recently having played his next marathon set, of which he is a big fan (9-10 hours is not the limit for him), Tenaglia stopped to record what he has been living in music for the last 6 years. Danny’s last studio creation was “Choice,” but it’s not a complete dance mix, as it reflects what kind of music the American tastes formed on. The announced double “Futurism” is a purely dance club work. If you look at the tracklist, you can see a lot of familiar names like Joris Voorn, Guillaume & The Coutu Dumonts, Shinedoe, Wighnomy Brothers and others, and each disc ends with a new track of Tenaglia himself. However, Danny does not quite agree that the mix should definitely be classified as “techno”: “It’s too simplistic to look at the tracklist and think only about the word“ techno. ”What did Kraftwerk do? What did Larry Levan do? They experimented ! “
Danny Tenaglia’s double mix “Futurism” will be available on CD on August 5th, and digitally on June 25th. In Russia, the mix will release Freestyle Records.
Tracklist:CD 101 Yello – Indigo Bay02 RTA – Metaphysical Vibe03 Afefe Iku – Bodydrummin ’04 Guillaume & The Coutu Dumonts – Can’t Cheat With Concrete05 Jitzu & Sire G – Cyclette06 Wighnomy Brothers – Hankkofloppe07 DJ Msoga – Tiir – (Burchan’s Bomb)08 Magik Johnson – Asylum Sneaker09 Luca Bacchetti – Rolling Brooklyn10 Shinedoe – Filthy Phunk11 GummiHz – Desire12 Bumpin ‘Ugly – Work Me13 Mastiksoul – Emergency14 Danny Tenaglia – The Space DanceCd 201 Fred Giannelli – Mid Life Crisis02 PuNto – 3Tempo303 Silent Servant – Murder Murder (Burch Bomb 2)04 Phase – Morodem05 Gel Abril – Your Face Is A Mess06 Dave Angel – Mothership Pt. 107 Daniel D – Beatific08 Davide Squillace – I Ment to Be Sharp09 Hertz – Big Bang10 Joris Voorn – No Revolution11 Peter Horrevorts – Birth12 Ultra Nate – Twisted (Got Me Goin ‘Round)13 Andreas Heiszenberger – Perfect Moment
14 Danny Tenaglia – Space Dance Vox