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Atomnation Podcast #011 Nuno Dos Santos

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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 podcast contributions from a series of label artists, we’ve got someone from outside for the first time. But it makes sense in the form of Nuno Dos Santos, as he was one of the first supporters of Atomnation and after all these years still has a warm heart to the label. We couldn’t resist to ask him a couple of questions: 

Hi Nuno, it’s a pleasure having you on our podcast series. You’re dj’ing across the globe and your label Something Happening Somewhere is releasing magic lately. Therefore, can you tell us a little bit about how you once started?

Thanks for having me! I started working in a record shop in Utrecht when I was about 16 or 17 years old. Since I was working there and got exposed to a lot of music, I started collecting a lot of vinyl. At the time it was mostly electronic music, the old 90’s Warp stuff and techno/house. So I started out as a collector until one of the guys from the record shop asked me to dj at an illegal rave party they were hosting. I think there were 300 people in a space that couldn’t even comfortably fit halve of them in there, a lack of oxygen, sweaty temperatures, you know the best types of warehouse party’s haha… They put me in this cage at a prime time slot, even though at the time I couldn’t even dj properly! Because I didn’t have the skills yet I did some pretty crude mixes just swapping faders, but it was amazing because everyone went nuts. So I realized it was actually kind of fun to dj and I bought two turntables which I had to pay off in several instalments. I just started practicing a lot and build up from there, starting to do more gigs etc. After club Trouw closed down in Amsterdam I decided to start with my own label called Something Happening Somewhere, which we have been running for almost four years already. Time flies…

We know you as a man who loves a broad range of music, so lets bring it to extremes: what is your favourite ambient record and what would it be in case of harder techno?

Of course this is a unanswerable question, there are multiple records that would fit but here are the ones that popped into my head just now:

Ambient: Global Communications – 76:14 (Dedicated)
A timeless record which was way ahead of its time! I still really enjoy putting this record on and dive into the world they’re creating.

Techno: Laurent Garnier – 30 (Fcommunications)
This is a techno album where you can hear a lot of personality, that really speaks to me both as a listener and artist. I still think this is his best album yet…

Between running SoHaSo, dj’ing and promoting events, do you still find time to work on new material of your own? And if yes, can you tell us what we may expect in the future?

It can be a rough balance sometimes, also having to perform in the weekends and needing time afterwards to recharge your batteries. It’s the usual story, but it can be hard to find the time in between all the gigs and things surrounding the label to find some isolated time in the studio. Having said that, for some time now I started blocking more time in my calendar to have these moments so I could finish a lot of the music I was working on. This resulted in my Trigonometry of Love ep back in April of this year. There is a remix EP of that just released on SoHaSo which I’m very happy about! It also includes a great remix by one of your fellow label mates Polynation. Apart from this I’m working on a few different projects at the moment: new original material, a collaboration EP with Eefje de Visser which is coming out soon and whom I also recently remixed for our SOMEHWERE compilation. I’m also finishing some music with my buddy Ben aka Cosmic Force, which is turning out pretty interesting so it will probably get a release somewhere in the next few months or so.

Your podcasts are always a journey through music, with surprising elements to be found every time. Can you tell us what you wanted to achieve with this Atomnation podcast?

With this podcast I wanted to indulge a bit more in the broken beat side of things. A bit higher tempo and rougher mixes besides some electro stuff that I have breen appreciating a lot lately. It includes two tracks by SoHaSo label artists which are yet to be released and some other surprises so no tracklist. I always thought it is really cool to discover things by looking hard and doing research and only after some time find the record you’ve been looking for. Oh that’s the one! Now it’s track id’s everywhere, everything is a bit pre-processed in that sense… Happy searching!

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Atomnation Podcast #009 Love Over Entropy

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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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Atomnation Podcast #008 Tunnelvisions

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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.

In podcast 8 we want to grab the opportunity to introduce Atomnation’s latest signing Tunnelvisions. They just released their first single and we are excited to say that something big is coming later this year. Raynor and Emiel from The Netherlands are into slow and grooving world electronics. Time for a chat!

Hello Raynor and Emiel. We’re so happy to have signed Tanami on Atomnation, and are excited to release more Tunnelvisions work this year. When did you guys decide to start working together?
Well, it actually started when Emiel downloaded Tinder around half a year ago and started looking for someone to meet. He then found me (Raynor) and we just hit it off. We started dating and it was obvious right away that we were meant for each other. We we’re both into the same music and were done with the hyped up, testosterone filled music that’s so popular these days. After dating for a couple of weeks we made it official and started Tunnelvisions.

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Your first single ‘Tanami’ received some very exciting feedback and even Anthony Fantano of The Needle Drop is a big fan. What was the process of creating this track?
It is kind of a funny story, really. At the time we already made a couple of tracks together in the studio. But, in every relationship, when you spend too much time together you get kinda fed up with each other, you know? So, we set a challenge that week. We were not to see each other for 7 days. At the end of those 7 days we both had to come up with a new track that we would then give to each other to finish. Ray came up with Tanami and Emiel came up with Acconna (a track you’ll hear more about soon). We decided to finish those tracks as soon as possible, seeing as they both had a lot of potential. For Tanami, Ray already had the basis with the vocal samples and the main synths, but Emiel decided it needed a certain edge. So he started messing around with his new 303 clone. After having spend hours with that thing, Emiel decided it sounded like total crap and couldn’t get anything out of it. But the idea of using a raw, acid like synth in there still was good. So we then started looking for different sounds to make this with. When we had it, it glued the entire track together and soon after we finished the track.

Where does the name Tunnelvisions come from? Has it a relation with the track title Tanami, or is this something completely different?
Have you not heard of the legend “Tunulavisioni”. It’s a legend of 2 young guys rising up against all odds and beating the evil mastermind: “128bpm tech-house”. We sorta based our name on that. No for real, we started Tunnelvisions with the goal of making hypnotic and psychedelic house music with influences from all over the globe. Our DJ-sets really represent what we stand for: a voyage across all nations within the downtempo-house genre. One flow, in styles from Berlin to Brasil. Our name doesn’t have a direct connection to “Tanami”. “Tanami” however, has a huge connection to all the tracks coming out in the near future.

What are you guys working on at the moment and what can we expect in the near future?
We’re planning world domination within 10 years, but people already told us it’s kinda hard to do. So in the mean time, we just try to have fun and also try to work on that monitor-tan we got from working in the studio the last half year. So expect lots of new music from us coming out on Atomnation. Also, we are getting more bookings each month. July is filled with some really nice gigs. Ray wanted to tell what the gigs were, but Emiel doesn’t approve. Is this our first band-fight? Anyway, thanks for this interview Atomnation folks and if you read this expect a big announcement soon!

Tracklist podcast:
Idjut Boys – Kenny Dub Headband
Xique-Xique – Xaxoeira (Nicola Cruz Remix)
Carrot Green & Salvagem
Matthew Dear – Her Fantasy (Tornado Wallace Remix)
Sano – Undelo
Tunnelvisions – Gobi
Kora Adrien – Nuit d’Afrique
DJ Champion – Tawoumga
Jimi Bazzouka – So So Ye
Dynamic Africana – Igbehin Lalayo Nta (Tunnelvisions Edit)
Tunnelvisions – Guava
Nu – Endup
Todd Terje – Alfonso Muskedunder (Mungolian Jetset Remix)


 

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Discovery Blog 2017 Week #12

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The Discovery Blog is a weekly updated selection of music findings by Atomnation curators Applescal, Guido, J.D. Heights and Will Oirson.

Subscribe to the Discovery Blog on Spotify for weekly updates.

Actress – X22RME
Label: Ninja Tune

Private Eyes – Mirror Image
Label: Safe Trip

Eagles & Butterflies – Experiment F
Label: Art Imitating Life

Krywald & Farrer – Spoon Billed Sandpiper
Label: Silver Bear Recordings

Vermont – Ki-Bou
Label: Kompakt Records

Masaya – Borderline (Patrice Baumel Edition)
Label: Chapter 24 Records

Rob Shields – Suspend
Label: YEN

Hedrome – Prophet
Label: Blanksheet

Sven Weisemann – Cascading Lights
Label: Delsin Records

Max Cooper – Cyclic (John Tejada Remix)
Label: Mesh

Throwback track:
Lost Scripts – A.F.K.
Label: Hivern Discs

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Atomnation Podcast #004 LOR

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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 fourth podcast we’ve invited Gregory Ferguson a.k.a. LOR. He recently remixed Sau Poler’s Esperits on Atomnation, which slipped into sets by Dixon and Joris Voorn amongst others. We thought it was time for a little chat.

Hi Gregory, after releasing your remix for Sau Poler here on Atomnation, EP’s on both Cin Cin and Exit Strategy got praised by the scene. How was 2016 for you?
Hi! 2016 was great thank you. It was a journey that started with me just sending some music out to people and ended with the wider world reacting to it in a really positive way. It’s been very, very rewarding so far, and to work with the labels you have just mentioned has been a great privilege.

The retakes (Versions) on classic Arthur Russell, Kraftwerk and Derrick Carter tracks are now mentioned as the beginning of a great career. Why did you choose these tracks to edit?
They were all just tracks that I loved and that I felt an instinctive urge to re-work… with Kraftwerk, it was a more practical matter than the other two – the original is an amazing piece of music, and the only thing I wanted to change was the sequence of it a little and the mix, so it would work on a dancefloor but in a transparent way where it still really very much feels like the original. The other two are a lot more like remixes, more creative. I remember hearing in my head the basics of what it would sound like, and then just going with the flow from there.

Your Soundcloud says that LOR is an abbreviation of Lunar Orbit Rendezvous. Can you explain?
I am a keen stargazer and I’m drawn to anything related to space or astronomy. Lunar Orbit Rendezvous was the technique used for all missions in the Apollo space program. A spacecraft releases the lander craft to touch down on the moon, enters a lunar orbit and they “rendezvous” again later, the astronauts then returning to earth on the spacecraft.

Obviously we are big fans, and we’ve read that new “Versions” material is coming. Which classics are you reworking this time?
I’ve done some reworks of tracks by the great Larry Heard this time. Like the previous Versions EP, these just came really naturally. When I listened to these Larry Heard tracks I immediately heard ideas in my head and it just flowed. It’s not always like that with these things… it’s nice when it works. When it’s working it flows like water. When it’s not it feels like a fight and it never works out! I’m playing them in my sets and the reactions have been good, plus I have given them to some of my favourite DJs, like Kristian Âme and Roman Flügel, who I’m happy to say are playing them too.

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Tracklist:

01. LOR – Sound (Intro)
02. Auntie Flo ft Anbuley – Waiting For A Woman (Revenge Rework Dixon Beat Edit) – Philomena
03. Sau Poler – Esperits (LOR Remix) – Atomnation
04. Isolée – Pisco – Maeve
05. Love Over Entropy – Forty Four – Lossless
06. Aera – Bibimbap – Hivern Discs
07. Leif Müller – Holidays Everywhere – Mule Musiq
08. Shaded & Harvard Bass – Mental Fade – Twin Turbo
09. Soukie & Windish – No One – Igloo
10. Seth Troxler – CZ – Tuskegee
11. Daniel Bortz & Marcus Worgull – Skinner Box – Exit Strategy
12. Aera – Lumen – Hivern Discs’

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Discovery Blog 2017 Week #06

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The Discovery Blog is a weekly updated selection of music findings by Atomnation curators Applescal, Guido, J.D. Heights and Will Oirson.

Subscribe to the Discovery Blog on Spotify for weekly updates.

Superpitcher – Snow Blind
Label: Hippie Dance

Max Cooper – Distant Light (Rival Consoles Remix)
Label: Mesh

Deltawerk – Corridor
Label: Atomnation

MatHame – Alkahest
Label: Souvenir Music

Reels – Familiar Love
Label: \FREE DOWNLOAD/

Baba Stiltz – XXX200003
Label: Studio Barnhus

Skymning – Valv
Label: Waves

Bolis Pupul – Wèi?
Label: Deewee

Hodge – Personality Shift
Label: No Corner

Talaboman – Loser’s Hymn
Label: R&S Records