Today we are proud to announce the launch of Ideal Podcast at samurai. The Ideal Podcast is a monthly podcast hosted by Oliver Huntemann and his label Ideal Audio. It serves as a platform where the pros from the electronic music industry present their best selection of tunes. Each artist is selected by Oliver Huntemann himself and so far talented producers such as Oxia, Dominik Eulberg, Carlo Lio, Extrawelt, Pan-Pot and Super Flu to name just few have graced the podcast.

Here we start with the DJ Pierre episode but we will be filling the archive so be sure to check back!

DJ Pierre is an artist who's considered a mentor to many of the ‘A' list DJ fraternity, old and new, and one man who continues to stand strong in an industry that's had its ups ‘n' downs.

Call him Nat “jammin Jones”, Scratching Pierre, Phortune, The Don, Darkman, Audio Clash, Photon Inc., Nathaniel Paul Jones, DJ Pierre, Legend, Pioneer, Innovative, Timeless, Genius…they all apply!

Every alias and every description is connected to work that has changed music as we know it. As a legend he is known to be part of that moment that has impacted Electronica forever. Acid House will always be tied to DJ Pierre and DJ Pierre will always be tied to it.

Following Bonzai All Stars EPM now brings you an AUX-hilarating new mix from DJ K-1 (aka Aux 88’s Keith Tucker). Featuring a career defining selection of Keith Tucker’s K-1, Aux 88, Auxmen, Black Tokyo and Optic Nerve productions, unreleased tracks and remixes from Ellen Allien, Arne Weinberg, DIE, Mr. Velcro Fastener, Gosub, Niko Marks and N-ter this is a pure Detroit journey spanning the evolution of the Motor City’s love affair with electro and techno.

Detroit DJs and producers, in their unique ability, strive to progress into the future by putting a little of themselves into each track. This ability allows some to feel a special vibe that produces visions of the future by embracing the past. Keith Tucker, an artist and DJ, has captured this vision in his recordings. As co-founder of AUX-88, and also known as DJ K-1, Alien FM, KT-19941, and his (Alter Ego) futuristic movie score sounds of Optic Nerve he has maintained his unique vision of Motor City electro as viewed through the Motor City funk prism.

In 1985, Tucker, Tommy Hamilton and Tony Horton formed RX-7, a local Detroit techno band. They performed hits by such groups as Cybotron, Kraftwerk, and the Soul Sonic Force as well as unreleased original tracks. The band played at local events in and around the city of Detroit but wanting to pursue personal projects, the band decided to disband a year later. Starting out in Classical Music during his grammar school years, Tucker went on to learn music sequencing. He also pursued a College career in Technical Illustration, Computer Graphics, and Mechanical Engineering. This in turn with a love of Classical Music has helped him to appreciate music as an art form.

Tucker later received a response from Metroplex Records; Juan Atkins’ label, and signed as Frequency. Under this alias, Tucker and Jessie Anderson recorded such tracks as, “Television,” “Frequency Express,” and “New Jack House.” In September 1992, while working on new tracks for Metroplex Records, Tucker received a visit from Tommy Hamilton. They brought their experiences together to form AUX88, and found that their music talents had matured since the early 1980s. Using their Detroit Techno background, the two quickly accumulated a mass of new tracks that had a brand new vibe. This futuristic blend of electro, bass and trance soon became known as ‘Techno Bass’. In 1992 the first single, “Technology,” transmitted by Direct Beat/430 West, immediately over took the Detroit club scene. “When we heard the tune, we knew the guys had made it in Detroit, for Detroit, so that’s where we released it, DETROIT,” exclaimed Lawrence Burden of 430 West Records.

Tucker then decided to pursue his alter ego solo projects Alien FM, Optic Nerve and KT-19941 on PUZZLEBOX Records (co-owned by Tucker and Wanda Dixon). In May of 2000, Detroit was host to the largest free Electronic Music Festival (DEMF) in the world. Tucker brought together old and new artists to form RX-7 again for the festival. And it was here that AUX88, XILE, Black Electric, and Optic Nerve performed on one stage for the first time.

This visionary from Detroit has brought his unique brand of dance music to the awaiting ears of the world since 1990 and now over 20 years later he currently concentrates on his renewed musical kinship with Tommy Hamilton as the reformed, original AUX88 duo a well as new techno incarnation Aux 88 presents Black Tokyo. The electro ‘Mad Scientists’ are back!


Q&A with DJ K-1 (aka Keith Tucker)

1. Please give us a quick walk through your selection. Why did you choose these tracks for the mix?

My choice was of impulse to show a sort of variety and retrospective of just a small piece of our vast amount of music. From our newest material Aux 88 presents Black Tokyo and Mad Scientist and also show not only my Aux 88 work but my individual personas Optic Nerve and K-1. And to show that Aux 88 can still create new kinds of electro like ‘If Am Was FM’ off the Transient Force Ep Electro Slaves. We have always believed that you are informing or teaching. There are still so many people in search of good music and its always great to go to a live gig and hear someone say I never heard of you guys but a friend brought them down to see us. And now they want to find everything we have done, a big task but a great feeling to know you can always get new fans.

2. A lot has been eulogized about the history of Detroit techno but what are your memories of early 80s pre-techno Detroit when a lot of your peers were in their formative years?

My fondest memories of the early days are the pride and dedication each artist in Detroit’s willingness to create something intelligent and dark and thought provoking. While always working hard to create sounds and moods in the music that were at time spiritual. There was a pride amongst everyone I came in contact with to work hard and not just throw something together. For Aux 88 it was motivating to want to learn everything about a synth, drum machine sequencing and concepts. The more time you put in the better you got…..The Bassline! Say no more.

3. How did you and Tommy ‘Tom Tom’ Hamilton first get together?

We met at a local High School Talent Show and various local parties. I was djing with a mobile rig and djing for a hip hop group. The dance group Tom was with loved to dance to fast electro tracks and we and a few others talked about creating our own music which led to us joining Diamond entertainment and me and Tom along with Anthony Horton (Aka Blak Tony) were asked to create and be the backing band for the whole company. We performed backing music for the various groups in the company like dancers & r&b and hip hop music. For example we did tracks from Run DMC, Janet Jackson, The Time, Cybotron and Freestyle. We got such a great response so then we decided to create our own group within Diamond entertainment called RX-7. We started recreating all the hottest electro tracks live without a sequencer. Only armed with a drum machine and four Casio CZ synths.

4. Where did you get your first DJ break and did you hold any residences in Detroit?

I can’t say I ever really got a break, I was a mobile DJ doing local parties all over Detroit including colleges, High School Proms and New York style street block parties. I did have a two week stint at a local skating ring but I hated playing the same records over and over.

5. If you hadn’t discovered music, what would you be doing now?

Well I was in college taking engineering courses and I worked at General Motors for a long time with a great future and computer driven job, but I really loved making music. If not for the music I’m sure I would have become an auto design engineer.

6. Can you recall the first time you got on a plane out of Detroit to play an international gig? How did you feel?

It was the winter of 1995 Mayday in Frankfurt and Direct Beat got the gig; I was very nervous but happy to go. But at the time I would much rather it had been an Aux 88 Live show. But I was thankful for the opportunity and loyalty from the Burden Brothers gave to Aux 88 and making sure one of us where going to be going over because there where others guys on the label like Will Webb who did not get to go. I felt bad about that but Tom, Anthony, BJ and the Burden Brothers assured me that Aux 88 and I earned that right. Next thing I know Im on a Northwest flight sitting with Lawrence Burden and the legendary Ken Collier. It was a big honor and opportunity and I was a bit over-whelmed.

7. With a host of recent remixes from the likes of Ellen Allien, Niko Marks, Arne Weinberg and LFO’s Gez Varley Puzzlebox seems to be on a roll at the moment. What are your future plans for both the label and Aux?

Well we are constantly evolving. We will be pushing the boundaries of electro with the Mad Scientist persona and pushing our techno music for the Black Tokyo to new heights as well as the live shows - visually and sonically. My plan with Puzzlebox Records was always about quality not quantity. I’m so busy with Aux 88 and Black Tokyo I don’t have time to put artists on the label and im just fine with that. I was told by Mike Banks once to concentrate on our music. Over the years me and Tom have created so much music that we don’t have to work on music all the time. We now concentrate a few months out of the year to take our time and create music and plan for the year. It is so much fun to work on music when you have no pressure and are not rushed because you have a concept and plan. The new Black Tokyo is stellar and the unreleased Mad Scientist coming in 2012 has two big names added for a special one time release. There is a special planned media project and Detroit Aux 88 electro funk project. We will never abandon our electro roots but we will embrace our techno side….as we have always with Optic Nerve, Alien FM, Auxmen, Mikronox, Black Tokyo, Sight Beyond Sight, KT-19941, Mad Scientist and many more personas we have taken on.

8. How does your recent ‘Black Tokyo’ album project differ from a normal Aux 88 release?

Black Tokyo is and has become one of our favourite projects we have ever done. It’s our more mature techno side and is a departure from our usual Aux 88 electro funk. Black Tokyo is our melding of two beautiful cultures: the precision of Japan and the darkness and beauty of the Detroit techno sound. The two Japanese females Erika and Ice Truck each bring their ideas, culture and vision to the project in so many ways with visuals, vocals, beauty and calmness from their culture. The project Black Tokyo is growing into a beast of a live show. We have not abandoned electro nor will we ever, it’s a sign of our growth. We are currently working on music for Ice Truck’s solo project and its very different - hot dance tracks. Erika has just had her first child little Noemi. So me and Tom are proud Uncles…She will be back touring some shows and handling spoken word and visuals.

9. You and Tommy have worked together for what must be, on and off for 20 years now. So how do you work in the studio? And what’s his worst habit? ;O)

Hmmmm good question. Well we have two studios, Alpha Flight and Optic Studios so we don’t always have to see each other or be in the same studio. We can now send each other files and info through the Aux 88 server. That alone helps us to not get on each other’s nerves and still keep some excitement and help push each other. If I had say what his worst habit is it would be that sometimes he blocks himself out from the world when he is working and I have to send out the bat signal to contact him when he is in his studio…But in the end we always have something to pass onto each other or get us excited on a track.

10. Please give us your top 5 pre-techno classics:
1. Kraftwerk - We Are The Robots
2. Eurythymics - Here Comes The Rain
3. Cybotron - El Salvador
4. Man Parrish - Boogie Down Bronx
5. A Number of Names - Shari Vari

www.optic-universe.com
www.aux88.com

今やヨーロッパのフェスにヒッパリダコのMOGUAI。ロッキンエレクトロを主体にテックハウス、ブレイクスなどを巧く取り混ぜたスタイルは第2の WESTBAMとも言われている。プロデューサーとしてもレーベル "PUNX" から数々のアンセムを送り出し、EMMA HOUSE9にも収録されている "GET ON" を筆頭にテクノだけに留まらない幅広いアーティストに使用されている。リミキサーとしても世界中から注目を集め、X-PRESS2, FISCHERSPOONER, TIMO MASS等トップアーティストのリミックスを手掛けている。2005年には人気ガールズ･ユニットの "SUGARBABE" のリミックスも手掛けイギリスでプラチナ賞をダブルで受賞した。

It's been a while but we've got a fresh summer update from the original breakbeat masters, Aquasky. It's an electrified selection of heavy hitting dance energy including some fine pieces from their own Passenger imprint.

Going from strength to strength, the work these guys have put into the scene is well recognised around the world and has led to outstanding collaborations with the likes of Daddy Freddy (Ragga Twins), Kool Keith (Ultramagnetic MCs/Dr. Octagon etc.), Diane Charlemange (Timeless/Metalheadz etc.), Tenor Fly and more. They also have a fresh sample CD range in the shops called Monster Sounds, their d&b label called 777, forthcoming releases on their 4/4 oriented alias of Black Noise, and they are also finishing off their 7th Aquasky album.. phew!

www.aquasky.co.uk

Following Ben Sims frenetic and funk-fuelled set we now take a turn off the beaten track as a new act manned by two dance veterans comes to fruition. Radionasty is the new production and DJ collaboration between Keith Tenniswood and Billy Nasty.

Keith Tenniswood (aka Radioactive Man and one half of Two Lone Swordsmen alongside Andrew Weatherall) has been privy to some of the most twisted machine funk to emanate from the UK in the last decade and his production partner Billy Nasty has taken techno to the world via his DJ sets and Tortured label. Having premiered Radionasty earlier this year on the EPM 10 compilation the pair now reveal more of their stripped down, dark and brooding electro / dub sound with a mix that includes tracks from Sleep Archive, Model 500, Instra:mental, SCB, Phil Kieran feat. Green Velvet, Boddika, Alan Fitzpatrick and EPM’s Lee J. Malcolm.

Radioactive Man (aka Keith Tenniswood) began his musical career, aged nine, when his father thrust a guitar in his hand. Destiny also took charge when he met up with Andrew Weatherall and The Sabres Of Paradise at night-clubs like 'The Drum Club', 'Full Circle' and 'Sabresonic' and began working with Weatherall manipulating sound on the Sabres tour.

Having been an integral part in the Weatherall studio set up, it seemed a natural step that upon the demise of Sabres, Weatherall and Tenniswood should arise from the debris and form their own production team, the Two Lone Swordsmen. In 1996 they released their first album together as the Swordsmen, entitled 'The Fifth Mission-Return To The Flightpath Estate' on Weatherall’s own Emissions imprint. They have since recorded for Warp Records and Rotters Golf Club.

Outside of the Two Lone Swordsmen, Tenniswood leant his talents to David Holmes 'Lets Get Killed' album and has also worked with The Aloof, Primal Scream and Red Snapper. He released his debut album also titled “Radioactive Man” on Rotters Golf Club, in September 2001. The album received many plaudits (amongst them, “One of the UK’s most underrated DJ/producers”) and established him as a producer in his own right, disassociating him from the 2 Lone Swordsman moniker. He has since released the album ‘Booby Trap’ and today he can be found DJing in the UK and overseas most weekends, and still finds the time to work on his own label Control Tower which he set-up with The Dexorcist and Royston.

20 years is a long time in electronic music, but that’s how long British techno DJ Billy Nasty has been at the forefront of the game. From early beginnings in London’s acid house scene to the huge global following he enjoys today, Billy’s continual hunger for new music, combined with his extensive experience, has made him one of the scene’s most enduring and in-demand figures. And with a current residency at BLOC festival plus a string of new releases coming up, Billy shows no signs of slowing down soon.

Emerging from a background playing rare groove and funk, Billy’s first forays into house appeared during his residency at London’s The Brain Club, alongside Lost founder Steve Bicknell. Meanwhile, he manned the tills at Zoom, one of the capital’s most important record shops, soaking up everything from American house and techno to the emerging strains of British progressive and early European trance. Quickly making an impact, he was asked to contribute the first volume of the seminal ‘Journeys By DJs’ series – gaining him entry into the Guinness book of records for being the first DJ to produce a commercially available mix.

As the dance scene of the early 90s splintered into numerous subgenres, Billy’s profile sky-rocketed, resulting in regular slots at famed London clubs Final Frontier, Open All Hours, The Drum Club and Strutt. Collaborating with a handful of likeminded friends, Billy’s studio work started to reach the public’s ears, and by 1995, he was jetting across the globe every weekend, spinning at many of the most famous clubs and festivals in dance music history.

Around this time, he formed his own agency, Theremin, and was responsible in no small part for introducing the wider world to the talents of now-huge European DJs such as Adam Beyer, Marco Carola and Joel Mull. Meanwhile, his first label, Tortured, showed the development of his style into a harder, purer form of techno, and quickly became one of the genre’s most influential and prominent imprints. This was followed in 2001 by Electrix, where Billy released more experimental techno and electro from artists including Umek, The Advent and Carl Finlow. Again, this quickly became one of the leading labels in its field, and remained so until its closure in 2006.

Having decided to wind down his labels to concentrate on DJing and studio work, Billy has spent most of the 21st century doing the same as he always has – sourcing out the freshest, most innovative, dancefloor sounds to spin. Incorporating the recent trends towards minimalism, along with dubstep, electro and classically-styled techno into his seamlessly-mixed style, Billy is a regular guest at Fabric, and holds a residency for the UK’s hugely acclaimed electronic music festival, BLOC, whilst continuing to travel the globe for gigs each and every weekend.

But while DJing is clearly his first love, he’s also found time to get back into the studio, collaborating with Gregor Tresher for labels including Datapunk, Terminal-M, and Crosstown Rebel's Rebel1 subsidiary. As if all that wasn’t enough, he’s also developed his new project that you are witnessing here – Radionasty, alongside Keith Tenniswood.

As electronic music continues to splinter and evolve deep into the future, one thing is certain – Billy and Keith will be right there in the thick of it, doing what they do best. It’s time to get nasty…Radionasty.


Q&A with Radionasty (aka Keith Tenniswood and Billy Nasty)

1. Please give us a quick walk through your selection. Why did you choose these tracks for the mix?

Keith: Well the Radionasty tracks for obvious reasons, (of which we’ve just cut to vinyl for Craig Richards Tyrant label) some of my new stuff which is coming soon on Wangtrax and current bits which have been twisting our melons.

BILLY - I also wanted to use trax that I play out regularly in the clubs and from cutting edge artists that are taking their music and sound in new and exciting directions.

2. How did Radionasty come about? Are two headz better than one?

Keith - We’ve been friends for a long time, I first met Billy at Sabresonic studios when I was making the tea and skinning up, when he was working with Jagz Kooner and Gary Burns doing the Kammaflage stuff. We have also been on the same bill (sic) quite a lot over the years and Billy shares my love of electro so it felt right and very relaxed to go in the studio together. Billy knows his music so well and as a DJ, knows how to arrange stuff really well. Especially when it comes to 4/4 business.

BILLY - like Keith says we've known each other for quite a long time now and are both respectful of each other’s work so the plan to work together came quite naturally. The opportunity to work with someone as talented as KT was an offer I couldn't refuse and it didn't disappoint.

3. You both have a wealth of experience to draw on so how do you merge ideas in the production process without it becoming a sprawling mess?

Keith - When I collaborate with people I always find it nice to work with someone who has foresight in the studio and patience too. You can’t expect to just magic sounds together, it takes time and I’m always looking for new sounds. No point in just using preset stuff, make it yourself. Billy understands that less is more, which is important too. He’ll always have a shitload of new tunes to vibe off too.

BILLY - when we work things happen & flow quite smoothly, we both come up with ideas and directions, which we try out and then judge. We’re also quite lucky with several happy accidents that go on to become key parts in our trax. Recently we've been recording at Keith's place which I think keeps things chilled out n less stressy due to no dead lines, recording cost and studio kick out times. We've recently completed a remix for Red Snapper there and were both really pleased with the remix and the sound we achieved. It was great to remix one of there trax as they have always been one of my favorite bands.

4. How will Radionasty co-exist amongst your other projects? Is it currently your main focus?

Keith - We’re both busy doing our own thing. There’s no set plan of action, other than getting together once or twice a week to drink beer and make tunes.

BILLY - I agree, we both have several other projects going that we spend time on but RadioNasty is our most recent studio project and we are excited about It’ll be the first time we perform together at the EPM Nitza party in Barcelona this Thursday.

5. With Deadmau5, Plastikman and Daft Punk taking live electronic music back to the main stages at festivals there seems to be a growing emphasis on the visual element of a show. Will Radionasty be incorporating visuals into future plans?
Keith - Would be nice, but probably not on our current budget. Think we’re more of a one strobe light in a dingy room sort of act at the moment. Which I’m quite partial too anyway. :)

BILLY - if we got to the stage were we wanted to play out live then I think strong visuals would be a good look and an extra vibe to the performance...we could call them Video nasty’s!! LOL

6. On the flip side you both DJ and play back to back at the EPM and Phonomonkey ‘Engine Room’ show at Sonar this week. How will you work as a tag team and what can we expect?
Keith - We’ve had a wee chat about it, I think its gonna be 3 or 4 records each so you get the chance to get into a bit of a flow. Trying to coax Billy into a full electro set but it wont be easy I suspect.

BILLY - I think we'll attack the set in a similar way that we used with the podcast. Starting off with some killer electro vibes then building the pace and intensity up with club friendly techno bangers.

7. Billy. Will we see a return of Tortured Records or yourself as a label boss again?

BILLY - i've often thought about relaunching Tortured & Electrix records but half of me thinks it’s nice to leave them as they are. I'm really proud of both the label's achievements and all the great records that were released on them…saying that I think you should never say never, so you don’t know I might relaunch them one day?

8. Keith. You played guitar all over Europe with Two Lone Swordsmen’s live set up. Do you still feel the urge to grind the axe?

Keith - I’ve still got 2 lovely vintage Gibson’s that will always have a place in my studio. To be honest I’ve not played much recently but I do add the occasional guitar line and also bass which I love playing. So good for coming up with ideas.

9. You are both marooned on a desert island. Who cracks first?

Keith - You try dealing with Billy on a monday morning. Most definitely me!

BILLY - think i'd probably start moaning first... depends on how long the booze lasts!

10. As the party @ Nitsa during Sonar is in honour of our dear friend Brian Hanna (aka Engine Room) who sadly passed away this time last year please give us your top 5 ‘Engine Room moments’ (without incriminating yourselves!)

Keith -
Not Easy!!!
Not just moments but traits too...
1. Him Trying to pass me a spliff when I was doing our 1st ever TLS gig in Brighton and was like ‘who is this guy trying to talk to me whilst i’m playing’? And it being our 1st ever show. I was nervous as hell.
2. Him using his compass in his car to navigate.
3. His seemingly endless supply of sayings and one liners.
4. Part of the furniture at Fabric. Literally.
5. His genuine love of music and was always into checking out my new stuff... Sorely missed!!

BILLY - again many mad memories of ER below are a few of them

1 the last proper time I spent with ER was at the Bloc 2010 festival we shared a chalet that weekend, I drove us both there on the thursday night he had been up and hadn’t slept since the saturday before. He was obviously buzzing and he was constantly talking during the journey, which I remember describing to Keith as being verbally machine gunned for 5 hours in a car with no chance of escape. It was weird not to have him at Bloc this year as he'd been at everyone until then, loads of people commented on this also.

2 his outstanding peak cap hat collection. His cranberry & vodka signature drink and his tendency for wearing way to much aftershave.

3 having conversations with him in noisy night clubs and parties but only getting one in five words. Not that that stopped him!

4 his lock up in Brighton that was the like the analog version of the elephants grave yard with loads of old valve amps, speakers and synths and shit loads of vinyl. I always respected his love of music and buying/collecting records and obsession that is becoming more n more rare these days.

5 when I first moved to Brighton I would spend loads of nights at his house talking (and sometimes arguing) about everything and anything. He was an interesting, fascinating and hilarious character that we will always miss. I hope he's up there at the great gig in the sky backstage mumbling n cackling to whoever is on at the time. In fact I'm sure he’s just met up with Kenny Hawkes another sorely missed Brightonian.

www.epm-music.com