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Atomnation Podcast #009 Love Over Entropy

podcast9 Atomnation

The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

After the ‘new kids on the block’ in podcast eight, the ninth installment of our series is by longtime friend and celebrated producer Love Over Entropy. He remixed Polynation on Atomnation and has released numerous weapons on labels such as microCastle, Something Happening Somewhere and Lossless. There’s much more behind this musician then you think, so we couldn’t resist to ask him a couple of questions.

Hi Michel, as both producer and teacher in music production, what would be your favourite record of the past years?
I have no idea how I could pick the number one out of all the records that made an impression on me the past years. But I can tell you what the last record was that did that: Ripperton’s remix for Kalabrese’s track ‘Is this’, which is also in my podcast. I just love how it effortlessly goes from its driving beginning to its soothing end. It all feels so musical: The sounds, the rhythms, the way the story develops. We could definitely do with a bit more storytelling in electronic dance music.

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You are active in the music scene for quite some time now. In every item about you new information pops up. Could you sum up your aliases and key events in your career?
My first release was in 2001, as Roy Cordu, on Rushhour. But it was deep electronica, instead of the sound that Rushhour later got famous for. In 2007, I started releasing more techno-oriented music as Minz. First on Ripperton’s Perspectiv, later on other labels as well. With attention for Minz slowly fading, I decided to make a fresh start as Love over Entropy in 2013, when I had the honour to do the first record of Something Happening Somewhere. This made quite an impact and the Dixon edit of my track Tonii on the follow-up EP brought me a lot of attention. Still, I believe I have all the hard work still in front of me. I think I’m in a good place at the moment: Connected to good labels and playing good gigs. But to keep it at this level, or even take it to the next level, that requires hard work, time and dedication.

We witnessed your liveset many times and seeing you play is always a lot of fun. Can you tell something to readers about your live setup?
When I designed it, I had two goals in mind: Firstly, it should work in a club context. To me, that means a compact setup and, just like a DJ, I should be able to select tracks on the spot. A live set with tracks in a fixed order has never worked for me. Technically, my setup is quite advanced and at first I thought this would be enough to throw everybody into a frenzy. But I quickly discovered this only worked for the two nerds behind the booth looking over my shoulder, not for the people on the dance floor. Most people on the dance floor usually have no clue whether artists DJ or play live. And that is OK. They should only really care about the music that’s played, not about how it is done.

The second design goal was that I didn’t want to have a computer screen on stage. And that includes touchscreens. I can almost feel my brain switch into information processing mode when I look at a screen on stage. And to me, this mode feels incompatible with my brain in performance mode. The obvious solution would be to go the all-hardware route. But I’ve done those kind of live sets in the past, and always felt it was sonically too limited for my music. As I see it, hardware setups often only work if you’ve also created the music with that hardware. My music uses a lot of special processing and sound design that makes no sense to replicate live.

So I settled on a laptop running Ableton Live, but without having to look at the screen. That way I can have the laptop almost closed and out of the way. To me, Ableton Live is an open system, especially with Max for Live. It allows me to tailor my live set to my needs, and I make small adjustments after almost every gig. To control my live set, I use a couple of well-chosen controllers, and every function in my live set has its own dedicated knob. As a result, I have developed a physical relation with my controllers, very much like an instrument. That’s also why I always set up my controllers in a specific way. Some people have noticed the concentrated way in which I do this before a gig, and I think that’s because I’m not just setting up my controllers. I’m putting together my instrument.

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Between remixing, playing live shows and teaching electronic music apprentices, do you still find time to work on new material of your own? And if yes, can you already tell us something of what we may expect in the future?
Since the beginning of this year I only teach two days a week and usually perform during the weekends. I reserve at least three full days a week to be in the studio. I use that time for all my music related activities. So it could be working on new material, making old tracks ready for release, making podcasts, looking for tracks to DJ with, diving deep into some piece of gear, adjusting my live set, and so on. As long as it’s music related. To me, creating music is very much like working out. Only when you do it regularly, you start to see results. That’s why I need those three days every week.

In September I have a compilation track coming out on Lossless and remixes for Connaisseur and Objektivity. There are also new EPs coming up on Lossless, Something Happening Somewhere and Nautilus Rising, but we still need to finalize the schedule. Which with vinyl releases is always more hassle than expected. Behind the scenes, I’m also collecting material for an album. At the moment I just have some ideas and sketches, and I’m still figuring out the direction. So it might take a while.

Podcast tracklist:
1) Intro
2) Saints de glace – Love over Entropy feat. Ripperton (Something Happening Somewhere)
3) She Hunts at Night (Clesse Remix) – Pye Corner Audio (More Than Human)
4) Is this (Ripperton Mix n Remix) – Kalabrese (Rumpelmusig)
5) ? – ? (Nautilus Rising)
6) Orissa (Pépe’s Jazz Bar Re-interpretation) – Wayward (Silver Bear Recordings)
7) Burkina – Superpitcher (Hippie Dance)
8) Love supreme (Love over Entropy remix) – Peter Pardeike (Connaisseur)
9) It’s Not Me, It’s You – 6884 (200 records)
10) Guinney – Bunús (Lossless)
11) That Is When – Mathias Schober (Lossless)
12) Underwaterfall – Bearcubs (All points)

 

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Polynation live at Volkskrant

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Hessel Stuut and Stijn Hosman again surpassed themselves, as they played live at the editorial floor of the Volkskrant. Their set largely existed of unsigned material, but they also found space to premiere their new remix for David Douglas, which will see daylight on Atomnation soon.

Enjoy Polynation’s extraordinary talents and have a great weekend.

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Atomnation Podcast #005 Vessels

podcast5 Vessels

The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

For our fifth podcast we’ve invited Leeds’ leftfield band Vessels. They remixed Polynation’s single ‘Why You‘ on Atomnation and are currently preparing their new album + live show. We are very curious about everything that is going on with the band.

Hi Tom, Tim, Martin, Lee and Peter. Between touring and after you launched your magnificent album Dilate in 2015, you guys managed to remix our beloved Polynation. Can you tell the readers what you have been up to since then?
Martin: Hello! Since 2015, we mainly been working on new material for an album that is incredibly close to being finished.  Feels quite unreal as it’s been quite an all-consuming process.  We’re starting to re-interpret the album music for playing live at the moment which is always a big challenge, but it’s been really great to get stuck in. Literally cannot wait to play this music live.  The Dilate album and tour was special for us in many ways, I have a feeling this next album will really be next level.  I guess everyone always says that about their new album. But this time it’s definitely true, trust us.

Vessels is a truly amazing live experience. Can you tell something about your live setup and why it’s like that?
Lee: Well the setup has evolved over time. It’s all been very much a logistical problem solving experience. We make the sounds in the studio but we also jammed a lot of the ideas out so it was about trying to find the most flexible solution which allowed consistency of delivery but also the freedom to improvise. A lot of the percussion sounds are distributed between me, Tim and Martin across three Roland SPDS-X’s. We spend quite a bit of time figuring out who can play what elements of the beats. They have to be de-constructed so that patterns make more sense to the individual player.

In terms of the synths, we used to use some cheaper gear but recently we’ve added some rather tasty toys to the fray. Tom has an Elektron Analog Keys running through a Kaoss Pad 3. The Elektron stuff is great. Good quality and once you get into their way of thinking you can really perform with the gear in a way that other synths don’t let you. It also sounds super fat on the bottom end so we divvy up a lot of bass parts to it. My synth set up comprises of an original Ms20 which i’ve had in the setup for years. I think it was one of the influences to head in the direction we took. Back then though I smashed it through a Marshall stack along with my guitar. I miss that sound but my back doesn’t miss carrying around that bloody amp rig! Also, i’ve just added a Roland System 1m to my set up. I needed something that is polyphonic and super tweakable and this guy really does have a lot of possibilities. I bought it on a whim thinking it wouldn’t be that great as i’ve started to get into modular stuff and thought it was a little on the cheap and cheerful side. I’ve been happily proven wrong though and it’s become a real go to for sound design.

Our setup all goes through Ableton Live which provides the ability to sync all our stations and allows us to loop what ever we’re playing and it stays locked in nice and tight. We experimented a lot with this and we used to run midi cables all over the place but just recently we’ve taken full advantage of the Ableton Link function which allows you to sync over WIFI. Again, I was sceptical at first but it’s actually really good. Previously we had one laptop running all the stations but it’s not robust enough in a live situation because if it went down the whole show pretty much stopped so we decided to have separate laptops which meant that if one of them went down all the others would still be synced and making sound. So far so good!

Martin’s setup is kinda my favourite because it’s the most unruly. It’s capable of amazing and horrendous noises. Normally at the same time! He’s synced via the only hard midi out which goes to his Koma Elektroniks Rhythm Work Station which is another great piece of kit. Not only does it convert midi to CV but it also sends midi clock through to his loop pedal. This was a game changer. He’s got some other great pedals on there like the Koma Step Filter, the MoogerFooger Ring Modulator, the Electro Harmonix POG2 and the now almost classic Line 6 DL4 which is another pedal left over from the old days. At one point we had five of these things!

That pretty much sums it up apart from to say that Pete’s setup is still being worked on. He wants to try out some new things involving a midi guitar. There has been some giggling at this but he’s pretty serious about it. I hope it works out as he’s a bad ass guitarist.

Where does the name Vessels come from?
Martin: It came from a long and tortuous conversation that lasted many months.  At the end of the debate that the felt like it would never end, we found one name that we all liked.  I think it captures the essence of the music and the live show.  And it has an ambiguity which appeals too.

We’re still enjoying your covers of The Sky Was Pink and Blue Clouds. If a new song will be covered, which one would it be?
Martin: Thanks. Good question!  There’s an amazing Carl Craig remix of a tune called Relevee by Delia Gonzalez and Gavin Russom.  We actually did some work on a cover, but I think we got distracted before we finished it.  It might be nice to cover something totally unexpected as well. I’m a big Lana Del Ray fan. Somehow I don’t imagine I’ll be able to persuade the rest of the boys to join me on that one.  Maybe one for my long overdue solo project!

Tracklist podcast:
01. Illum Sphere – The Journey
02. Kowton – A Bluish Shadow
03. Yotam Avni – Orma
04. Forward Strategy Group – Clean Neckline
05. Luke Abbott – Brazil (Slow Version)
06. John Talabot – Voices (Gerd Janson Version Conga)
07. Parple – Sacred
08. Malin, Yaleesa Hall – Second Carol (Asusu Remix)
09. Talaboman – Loser’s Hmyn
10. Black Sand – Dead Sea
11. Kowton – Balance
12. Cubicolor – Dead End Thrills (Patrice Baumel Remix)
13. Dark Circles – Y (Kamera Remix)
14. Vatican Shadow – Church of All Image (Regis Remix)
15. Modeselektor – The White Flash (feat. Thom Yorke)
16. Dubspeeka – K304v2 Walk With Me

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Atomnation Label Night at De Marktkantine

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Friday December 2 we’re back at De Marktkantine with a full-fledged label night. For this event mainstays Sau Poler, Polynation, Olaf Stuut & Applescal are on the bill. Sau Poler is coming over from Barcelona to play one of his beloved house / disco influenced DJ sets. Polynation & Olaf Stuut perform their ever spectacular live sets and Applescal will do what he does best: closing the night.

Line up: Applescal, Sau Poler, Polynation (live) & Olaf Stuut (live).

Info & Tickets: https://goo.gl/xAUz1U