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I was absolutely honoured to be able to talk to @terrencedixondetroit for @djmagofficial - surely one of the greatest from the Motor City who makes music that continually confounds me in the best possible way. As someone who has wrestled with the Roland MC303 themselves, what that man was able to do with that machine is frankly mind-boggling. I remember first being dazzled by his work on the album he did for @andyvaz303's label Yore. At the time it was a bit beyond my comprehension but some 20 years later it all makes perfect sense to me. That's longevity, timelessness and vision in action.

To top it all off, he's a top human being whose positive energy flowed out across the digital divide when we spoke. Humble, appreciative and just an all round pleasure to chat to.

Head to DJ Mag for the read, or check in the biolink to hear a bit more from a true legend.

Excellent photo credit goes to @evanzott!

#detroittechno #terrencedixon #tresor #mc303 #fromthefarfuture

I was absolutely honoured to be able to talk to @terrencedixondetroit for @djmagofficial - surely one of the greatest from the Motor City who makes music that continually confounds me in the best possible way. As someone who has wrestled with the Roland MC303 themselves, what that man was able to do with that machine is frankly mind-boggling. I remember first being dazzled by his work on the album he did for @andyvaz303's label Yore. At the time it was a bit beyond my comprehension but some 20 years later it all makes perfect sense to me. That's longevity, timelessness and vision in action.

To top it all off, he's a top human being whose positive energy flowed out across the digital divide when we spoke. Humble, appreciative and just an all round pleasure to chat to.

Head to DJ Mag for the read, or check in the biolink to hear a bit more from a true legend.

Excellent photo credit goes to @evanzott!

#detroittechno #terrencedixon #tresor #mc303 #fromthefarfuture

I was absolutely honoured to be able to talk to @terrencedixondetroit for @djmagofficial - surely one of the greatest from the Motor City who makes music that continually confounds me in the best possible way. As someone who has wrestled with the Roland MC303 themselves, what that man was able to do with that machine is frankly mind-boggling. I remember first being dazzled by his work on the album he did for @andyvaz303's label Yore. At the time it was a bit beyond my comprehension but some 20 years later it all makes perfect sense to me. That's longevity, timelessness and vision in action.

To top it all off, he's a top human being whose positive energy flowed out across the digital divide when we spoke. Humble, appreciative and just an all round pleasure to chat to.

Head to DJ Mag for the read, or check in the biolink to hear a bit more from a true legend.

Excellent photo credit goes to @evanzott!

#detroittechno #terrencedixon #tresor #mc303 #fromthefarfuture

Recognise 104: Terrence Dixon 🔊

As one of Detroit’s most adventurous producers, Terrence Dixon’s reputation has been built on more than 30 years of wildly unconventional techno. While his approach is rooted in the classic methodology of his city’s scene, across a heaving discography he speaks a language that’s entirely his own, in which the emphasis has never been limited solely to dancefloor impact. It’s techno, but not as you know it. 

That’s changed to some extent with ‘When Stars Remember’, Dixon’s latest EP for Tresor, the seminal Berlin label he first appeared on in 2000, and with whom he’s released multiple essential records over the years. From the first bars of opening track ‘Mono Collapse’, there’s an immediate ramp up in energy that shows he’s aiming for a more physical, maximal effect compared to the minimal subversion that’s characterised much of his previous output.

This was no accident. Three decades since his first alien signals transmitted against the grain of techno convention, Dixon is feeling inspired to push deeper and farther than ever before.

Here, alongside an extended 155-minute mix made up almost entirely of unreleased original material, the low-key Detroit legend tells Oli Warwick about how his home city has nurtured him and his plans to do the same in return, and how parenthood, minimal equipment and everyday life has shaped his singular sound.

Listen to the mix, and read the interview, now on djmag.com 🔗

✍️ @oliwarwick
📸 @evanzott

Recognise 104: Terrence Dixon 🔊

As one of Detroit’s most adventurous producers, Terrence Dixon’s reputation has been built on more than 30 years of wildly unconventional techno. While his approach is rooted in the classic methodology of his city’s scene, across a heaving discography he speaks a language that’s entirely his own, in which the emphasis has never been limited solely to dancefloor impact. It’s techno, but not as you know it. 

That’s changed to some extent with ‘When Stars Remember’, Dixon’s latest EP for Tresor, the seminal Berlin label he first appeared on in 2000, and with whom he’s released multiple essential records over the years. From the first bars of opening track ‘Mono Collapse’, there’s an immediate ramp up in energy that shows he’s aiming for a more physical, maximal effect compared to the minimal subversion that’s characterised much of his previous output.

This was no accident. Three decades since his first alien signals transmitted against the grain of techno convention, Dixon is feeling inspired to push deeper and farther than ever before.

Here, alongside an extended 155-minute mix made up almost entirely of unreleased original material, the low-key Detroit legend tells Oli Warwick about how his home city has nurtured him and his plans to do the same in return, and how parenthood, minimal equipment and everyday life has shaped his singular sound.

Listen to the mix, and read the interview, now on djmag.com 🔗

✍️ @oliwarwick
📸 @evanzott

Recognise 104: Terrence Dixon 🔊

As one of Detroit’s most adventurous producers, Terrence Dixon’s reputation has been built on more than 30 years of wildly unconventional techno. While his approach is rooted in the classic methodology of his city’s scene, across a heaving discography he speaks a language that’s entirely his own, in which the emphasis has never been limited solely to dancefloor impact. It’s techno, but not as you know it. 

That’s changed to some extent with ‘When Stars Remember’, Dixon’s latest EP for Tresor, the seminal Berlin label he first appeared on in 2000, and with whom he’s released multiple essential records over the years. From the first bars of opening track ‘Mono Collapse’, there’s an immediate ramp up in energy that shows he’s aiming for a more physical, maximal effect compared to the minimal subversion that’s characterised much of his previous output.

This was no accident. Three decades since his first alien signals transmitted against the grain of techno convention, Dixon is feeling inspired to push deeper and farther than ever before.

Here, alongside an extended 155-minute mix made up almost entirely of unreleased original material, the low-key Detroit legend tells Oli Warwick about how his home city has nurtured him and his plans to do the same in return, and how parenthood, minimal equipment and everyday life has shaped his singular sound.

Listen to the mix, and read the interview, now on djmag.com 🔗

✍️ @oliwarwick
📸 @evanzott

Recognise 104: Terrence Dixon 🔊

As one of Detroit’s most adventurous producers, Terrence Dixon’s reputation has been built on more than 30 years of wildly unconventional techno. While his approach is rooted in the classic methodology of his city’s scene, across a heaving discography he speaks a language that’s entirely his own, in which the emphasis has never been limited solely to dancefloor impact. It’s techno, but not as you know it. 

That’s changed to some extent with ‘When Stars Remember’, Dixon’s latest EP for Tresor, the seminal Berlin label he first appeared on in 2000, and with whom he’s released multiple essential records over the years. From the first bars of opening track ‘Mono Collapse’, there’s an immediate ramp up in energy that shows he’s aiming for a more physical, maximal effect compared to the minimal subversion that’s characterised much of his previous output.

This was no accident. Three decades since his first alien signals transmitted against the grain of techno convention, Dixon is feeling inspired to push deeper and farther than ever before.

Here, alongside an extended 155-minute mix made up almost entirely of unreleased original material, the low-key Detroit legend tells Oli Warwick about how his home city has nurtured him and his plans to do the same in return, and how parenthood, minimal equipment and everyday life has shaped his singular sound.

Listen to the mix, and read the interview, now on djmag.com 🔗

✍️ @oliwarwick
📸 @evanzott

Recognise 104: Terrence Dixon 🔊

As one of Detroit’s most adventurous producers, Terrence Dixon’s reputation has been built on more than 30 years of wildly unconventional techno. While his approach is rooted in the classic methodology of his city’s scene, across a heaving discography he speaks a language that’s entirely his own, in which the emphasis has never been limited solely to dancefloor impact. It’s techno, but not as you know it. 

That’s changed to some extent with ‘When Stars Remember’, Dixon’s latest EP for Tresor, the seminal Berlin label he first appeared on in 2000, and with whom he’s released multiple essential records over the years. From the first bars of opening track ‘Mono Collapse’, there’s an immediate ramp up in energy that shows he’s aiming for a more physical, maximal effect compared to the minimal subversion that’s characterised much of his previous output.

This was no accident. Three decades since his first alien signals transmitted against the grain of techno convention, Dixon is feeling inspired to push deeper and farther than ever before.

Here, alongside an extended 155-minute mix made up almost entirely of unreleased original material, the low-key Detroit legend tells Oli Warwick about how his home city has nurtured him and his plans to do the same in return, and how parenthood, minimal equipment and everyday life has shaped his singular sound.

Listen to the mix, and read the interview, now on djmag.com 🔗

✍️ @oliwarwick
📸 @evanzott

Recognise 104: Terrence Dixon 🔊

As one of Detroit’s most adventurous producers, Terrence Dixon’s reputation has been built on more than 30 years of wildly unconventional techno. While his approach is rooted in the classic methodology of his city’s scene, across a heaving discography he speaks a language that’s entirely his own, in which the emphasis has never been limited solely to dancefloor impact. It’s techno, but not as you know it. 

That’s changed to some extent with ‘When Stars Remember’, Dixon’s latest EP for Tresor, the seminal Berlin label he first appeared on in 2000, and with whom he’s released multiple essential records over the years. From the first bars of opening track ‘Mono Collapse’, there’s an immediate ramp up in energy that shows he’s aiming for a more physical, maximal effect compared to the minimal subversion that’s characterised much of his previous output.

This was no accident. Three decades since his first alien signals transmitted against the grain of techno convention, Dixon is feeling inspired to push deeper and farther than ever before.

Here, alongside an extended 155-minute mix made up almost entirely of unreleased original material, the low-key Detroit legend tells Oli Warwick about how his home city has nurtured him and his plans to do the same in return, and how parenthood, minimal equipment and everyday life has shaped his singular sound.

Listen to the mix, and read the interview, now on djmag.com 🔗

✍️ @oliwarwick
📸 @evanzott

Recognise 104: Terrence Dixon 🔊

As one of Detroit’s most adventurous producers, Terrence Dixon’s reputation has been built on more than 30 years of wildly unconventional techno. While his approach is rooted in the classic methodology of his city’s scene, across a heaving discography he speaks a language that’s entirely his own, in which the emphasis has never been limited solely to dancefloor impact. It’s techno, but not as you know it. 

That’s changed to some extent with ‘When Stars Remember’, Dixon’s latest EP for Tresor, the seminal Berlin label he first appeared on in 2000, and with whom he’s released multiple essential records over the years. From the first bars of opening track ‘Mono Collapse’, there’s an immediate ramp up in energy that shows he’s aiming for a more physical, maximal effect compared to the minimal subversion that’s characterised much of his previous output.

This was no accident. Three decades since his first alien signals transmitted against the grain of techno convention, Dixon is feeling inspired to push deeper and farther than ever before.

Here, alongside an extended 155-minute mix made up almost entirely of unreleased original material, the low-key Detroit legend tells Oli Warwick about how his home city has nurtured him and his plans to do the same in return, and how parenthood, minimal equipment and everyday life has shaped his singular sound.

Listen to the mix, and read the interview, now on djmag.com 🔗

✍️ @oliwarwick
📸 @evanzott

Recognise 104: Terrence Dixon 🔊

As one of Detroit’s most adventurous producers, Terrence Dixon’s reputation has been built on more than 30 years of wildly unconventional techno. While his approach is rooted in the classic methodology of his city’s scene, across a heaving discography he speaks a language that’s entirely his own, in which the emphasis has never been limited solely to dancefloor impact. It’s techno, but not as you know it. 

That’s changed to some extent with ‘When Stars Remember’, Dixon’s latest EP for Tresor, the seminal Berlin label he first appeared on in 2000, and with whom he’s released multiple essential records over the years. From the first bars of opening track ‘Mono Collapse’, there’s an immediate ramp up in energy that shows he’s aiming for a more physical, maximal effect compared to the minimal subversion that’s characterised much of his previous output.

This was no accident. Three decades since his first alien signals transmitted against the grain of techno convention, Dixon is feeling inspired to push deeper and farther than ever before.

Here, alongside an extended 155-minute mix made up almost entirely of unreleased original material, the low-key Detroit legend tells Oli Warwick about how his home city has nurtured him and his plans to do the same in return, and how parenthood, minimal equipment and everyday life has shaped his singular sound.

Listen to the mix, and read the interview, now on djmag.com 🔗

✍️ @oliwarwick
📸 @evanzott

This afternoon from 2pm BST your friends at the Department will be broadcasting their never-ending dedication to the gods of 1983 via @noodsradio

While the Department continues to be in deep research and preparation mode for upcoming festival appearances, we are pleased to present another live, unedited selection from our March takeover of @mickeyzoggs for your listening pleasure. Captured deeper into the night, there's a distinct party cadence to the combination of Italo, disco, synth-pop and dubby dance cuts blended into one cohesive listening experience.

Regards,

Your friends at the Department.

@jeff_mills_official everybody! The techno legend that needs no introduction, but here's a portal back into his landmark Live at Liquidroom Tokyo mix CD that has been enjoying a 30 year anniversary celebration over the past year. I actually spoke to Jeff about all this back last summer, and he's since taken a triumphant tour around the world honouring the seismic impact this mix had. It was an honour to speak to him for the second time, and learn more about the context leading up to Liquidroom. Thanks for the time Jeff, thanks for the commisson @djmagofficial and generally thanks everyone! Theveryone.

Read it via linkbiothing or over at djmag.com

#techno #jeffmills #detroittechno #liquidroomtokyo #mixcd #reeltoreel

@jeff_mills_official everybody! The techno legend that needs no introduction, but here's a portal back into his landmark Live at Liquidroom Tokyo mix CD that has been enjoying a 30 year anniversary celebration over the past year. I actually spoke to Jeff about all this back last summer, and he's since taken a triumphant tour around the world honouring the seismic impact this mix had. It was an honour to speak to him for the second time, and learn more about the context leading up to Liquidroom. Thanks for the time Jeff, thanks for the commisson @djmagofficial and generally thanks everyone! Theveryone.

Read it via linkbiothing or over at djmag.com

#techno #jeffmills #detroittechno #liquidroomtokyo #mixcd #reeltoreel

@jeff_mills_official everybody! The techno legend that needs no introduction, but here's a portal back into his landmark Live at Liquidroom Tokyo mix CD that has been enjoying a 30 year anniversary celebration over the past year. I actually spoke to Jeff about all this back last summer, and he's since taken a triumphant tour around the world honouring the seismic impact this mix had. It was an honour to speak to him for the second time, and learn more about the context leading up to Liquidroom. Thanks for the time Jeff, thanks for the commisson @djmagofficial and generally thanks everyone! Theveryone.

Read it via linkbiothing or over at djmag.com

#techno #jeffmills #detroittechno #liquidroomtokyo #mixcd #reeltoreel

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

“It was really a bridge from rave into what techno would become.”

Techno at its best is all about pushing things forward, and there are few better examples of this idea in action than Jeff Mills’ ‘Live At Liquid Room, Tokyo’.

Recorded across two nights in October 1995, the Detroit wizard’s first commercially available mix was and remains a pinnacle of technical flair and raucous intensity – a lightning in a bottle document of a genre blasting into a new era, when fiercely experimental music would break from the underground to thrill dancefloors the world over.

You’ll notice it almost instantly, as soon ‘The Extremist (Retro Mix)’ comes barrelling into earshot one minute in, blown out under a crackle of alien noise, quivering with some phasing trickery and sounding positively ragged. Over the ensuing hour, where tracks of his own like ‘i9’ and ‘The Bells’ collided with cuts from Surgeon, Joey Beltram, ClaudeYounge and more, decades audibly dissolve in a rush of white knuckle mixing, turntablist dexterity and rulebook-ripping contortions of sound.

30 years on from its initial release in the spring of 1996, and in the midst of a global run of shows and reissues celebrating the anniversary, it still manages to sound like the future.

Here, Jeff Mills tells Oli Warwick the story behind this landmark moment in techno history.

Read the full feature now on djmag.com 🔗

📸 @yuichironoda

Taken some time circa the golden era of Bloc Weekend when no one cared to advise me on my headwear choices. It was funny to see the Bloc founders had revived the name after many years silence to pivot to shipping container spaces, so I tapped them up for a chat about it that wound up spiralling into an exclusive on their plans for a Bloc reunion next year [20 years on from the fateful first edition at Pontins Hemsby] - next thing you know tickets are on sale and it's locked in for next March!

Old Bloc buddies, assemble!

Read allllll about it - on RA, via the bio link, y'know, the usual....

I reviewed the wonderful new compilation When There Is No Sun, released by @omnisound_ and curated by @ricardo_villalobos_official and the label team. I'll admit, and I'm sure I'm not alone in this, my first thoughts about a house / techno oriented Sun Ra tribute were not entirely optimistic, but the strength of those involved (UR, Chez Damier, Gerald) were reason enough to give the music a fair shot, and spending the dedicated time a review requires got me deeper into the music, to find the worth and sincerity behind the project and to appreciate the quality and passion coursing through it. With all its different angles and energies, it's not a slick final offering in a way, and that feels like the right way for something like this - Sun Ra was many things, but slick wasn't one of them. The best things rarely are...

Review is up on @resident_advisor or follow the link in my tumblrrrrrrr

X

I reviewed the wonderful new compilation When There Is No Sun, released by @omnisound_ and curated by @ricardo_villalobos_official and the label team. I'll admit, and I'm sure I'm not alone in this, my first thoughts about a house / techno oriented Sun Ra tribute were not entirely optimistic, but the strength of those involved (UR, Chez Damier, Gerald) were reason enough to give the music a fair shot, and spending the dedicated time a review requires got me deeper into the music, to find the worth and sincerity behind the project and to appreciate the quality and passion coursing through it. With all its different angles and energies, it's not a slick final offering in a way, and that feels like the right way for something like this - Sun Ra was many things, but slick wasn't one of them. The best things rarely are...

Review is up on @resident_advisor or follow the link in my tumblrrrrrrr

X

I reviewed the wonderful new compilation When There Is No Sun, released by @omnisound_ and curated by @ricardo_villalobos_official and the label team. I'll admit, and I'm sure I'm not alone in this, my first thoughts about a house / techno oriented Sun Ra tribute were not entirely optimistic, but the strength of those involved (UR, Chez Damier, Gerald) were reason enough to give the music a fair shot, and spending the dedicated time a review requires got me deeper into the music, to find the worth and sincerity behind the project and to appreciate the quality and passion coursing through it. With all its different angles and energies, it's not a slick final offering in a way, and that feels like the right way for something like this - Sun Ra was many things, but slick wasn't one of them. The best things rarely are...

Review is up on @resident_advisor or follow the link in my tumblrrrrrrr

X

I reviewed the wonderful new compilation When There Is No Sun, released by @omnisound_ and curated by @ricardo_villalobos_official and the label team. I'll admit, and I'm sure I'm not alone in this, my first thoughts about a house / techno oriented Sun Ra tribute were not entirely optimistic, but the strength of those involved (UR, Chez Damier, Gerald) were reason enough to give the music a fair shot, and spending the dedicated time a review requires got me deeper into the music, to find the worth and sincerity behind the project and to appreciate the quality and passion coursing through it. With all its different angles and energies, it's not a slick final offering in a way, and that feels like the right way for something like this - Sun Ra was many things, but slick wasn't one of them. The best things rarely are...

Review is up on @resident_advisor or follow the link in my tumblrrrrrrr

X

I reviewed the wonderful new compilation When There Is No Sun, released by @omnisound_ and curated by @ricardo_villalobos_official and the label team. I'll admit, and I'm sure I'm not alone in this, my first thoughts about a house / techno oriented Sun Ra tribute were not entirely optimistic, but the strength of those involved (UR, Chez Damier, Gerald) were reason enough to give the music a fair shot, and spending the dedicated time a review requires got me deeper into the music, to find the worth and sincerity behind the project and to appreciate the quality and passion coursing through it. With all its different angles and energies, it's not a slick final offering in a way, and that feels like the right way for something like this - Sun Ra was many things, but slick wasn't one of them. The best things rarely are...

Review is up on @resident_advisor or follow the link in my tumblrrrrrrr

X

I was thrilled to be asked by @marseldelsin and @christiaanalanmacdonald to write some liner notes for a thorough deep dive into the cavernous catalogue of the mighty Djax-Up-Beats. I've been a long time fan of the label since copping K Alexi Shelby 12"s way back when, and I had the pleasure of going in on the backstory with @missdjax for the first edition of Between The Tracks years ago, so I was more than ready.

As it turns out, it was one hell of a project to sink into. The first volume is out now, but believe me there is a lot more to come. If Djax ever seemed too big a project to tackle, these comps have you covered by truly sifting through and finding the best material.

You'll find my liner note waffle on the insert with each volume of the comp. Collect 'em all for the full story ;-)

Acid mayhem par excellence - dats gotta be Djaxxxxx

#acidtechno #tb303 #djaxupbeats #mikedearborn #ludovicnavarre #bjorntorske #missdjax #greyhawk

The Department returns to @noodsradio this afternoon with a slice of life from the @mickeyzoggs takeover the other week. Just one fifth of the pure 1983 heat that was rained down upon the establishment - perhaps more morsels will surface in the future. For now, enjoy.

This is The Land Speed Record Department.

x

The Department returns to @noodsradio this afternoon with a slice of life from the @mickeyzoggs takeover the other week. Just one fifth of the pure 1983 heat that was rained down upon the establishment - perhaps more morsels will surface in the future. For now, enjoy.

This is The Land Speed Record Department.

x

I've loved Jan Jelinek's music for a very long time, so I'm very happy to be asked to smudge the gaps between the live sets when he makes a long-awaited appearance in Bristol on Friday, alongside @ben.bertrand.music and @maryhurrell

Please note I won't be playing the Jelinek / Gramm records pictured. That would be a bit cheap eh?

I had the pleasure of seeing Jan play live at @meakusma some years back, and interviewing him for RA back in 2017. Although loop-finding-jazz-records is his masterpiece, there are so many other sides to his considerable body of work. Well worth exploring for anyone with an appreciation for subtlety and space.

All the love to @strange_brew_briz for putting on the gig and inviting me along to play a few records.

Xx

I've loved Jan Jelinek's music for a very long time, so I'm very happy to be asked to smudge the gaps between the live sets when he makes a long-awaited appearance in Bristol on Friday, alongside @ben.bertrand.music and @maryhurrell

Please note I won't be playing the Jelinek / Gramm records pictured. That would be a bit cheap eh?

I had the pleasure of seeing Jan play live at @meakusma some years back, and interviewing him for RA back in 2017. Although loop-finding-jazz-records is his masterpiece, there are so many other sides to his considerable body of work. Well worth exploring for anyone with an appreciation for subtlety and space.

All the love to @strange_brew_briz for putting on the gig and inviting me along to play a few records.

Xx

I've loved Jan Jelinek's music for a very long time, so I'm very happy to be asked to smudge the gaps between the live sets when he makes a long-awaited appearance in Bristol on Friday, alongside @ben.bertrand.music and @maryhurrell

Please note I won't be playing the Jelinek / Gramm records pictured. That would be a bit cheap eh?

I had the pleasure of seeing Jan play live at @meakusma some years back, and interviewing him for RA back in 2017. Although loop-finding-jazz-records is his masterpiece, there are so many other sides to his considerable body of work. Well worth exploring for anyone with an appreciation for subtlety and space.

All the love to @strange_brew_briz for putting on the gig and inviting me along to play a few records.

Xx

Bristol beautiesssss! Beta Motive here with a quick PSA...

This douche 👆 will be back in town this Friday evening to fly the good flag of 1983 for @the_land_speed_record_dept at the one and only @mickeyzoggs. Eye gear as standard. Records will be rolling from 8pm til late, spanning all the Department styles you know and love from toe tappers to neck snappers, heavy lidders to slinky rollers, freaky tweakers to melty speakers.

Nevada Nate is unfortunately otherwise engaged in reconnaissance into sounds of the future, but will be very much packed in the bags in spirit.

Would be lush to see some of the friends of the Department if anyone's about and fancies it :)

Love love xxx

Bristol beautiesssss! Beta Motive here with a quick PSA...

This douche 👆 will be back in town this Friday evening to fly the good flag of 1983 for @the_land_speed_record_dept at the one and only @mickeyzoggs. Eye gear as standard. Records will be rolling from 8pm til late, spanning all the Department styles you know and love from toe tappers to neck snappers, heavy lidders to slinky rollers, freaky tweakers to melty speakers.

Nevada Nate is unfortunately otherwise engaged in reconnaissance into sounds of the future, but will be very much packed in the bags in spirit.

Would be lush to see some of the friends of the Department if anyone's about and fancies it :)

Love love xxx

Bristol beautiesssss! Beta Motive here with a quick PSA...

This douche 👆 will be back in town this Friday evening to fly the good flag of 1983 for @the_land_speed_record_dept at the one and only @mickeyzoggs. Eye gear as standard. Records will be rolling from 8pm til late, spanning all the Department styles you know and love from toe tappers to neck snappers, heavy lidders to slinky rollers, freaky tweakers to melty speakers.

Nevada Nate is unfortunately otherwise engaged in reconnaissance into sounds of the future, but will be very much packed in the bags in spirit.

Would be lush to see some of the friends of the Department if anyone's about and fancies it :)

Love love xxx

Bristol beautiesssss! Beta Motive here with a quick PSA...

This douche 👆 will be back in town this Friday evening to fly the good flag of 1983 for @the_land_speed_record_dept at the one and only @mickeyzoggs. Eye gear as standard. Records will be rolling from 8pm til late, spanning all the Department styles you know and love from toe tappers to neck snappers, heavy lidders to slinky rollers, freaky tweakers to melty speakers.

Nevada Nate is unfortunately otherwise engaged in reconnaissance into sounds of the future, but will be very much packed in the bags in spirit.

Would be lush to see some of the friends of the Department if anyone's about and fancies it :)

Love love xxx

Bristol beautiesssss! Beta Motive here with a quick PSA...

This douche 👆 will be back in town this Friday evening to fly the good flag of 1983 for @the_land_speed_record_dept at the one and only @mickeyzoggs. Eye gear as standard. Records will be rolling from 8pm til late, spanning all the Department styles you know and love from toe tappers to neck snappers, heavy lidders to slinky rollers, freaky tweakers to melty speakers.

Nevada Nate is unfortunately otherwise engaged in reconnaissance into sounds of the future, but will be very much packed in the bags in spirit.

Would be lush to see some of the friends of the Department if anyone's about and fancies it :)

Love love xxx

Bristol beautiesssss! Beta Motive here with a quick PSA...

This douche 👆 will be back in town this Friday evening to fly the good flag of 1983 for @the_land_speed_record_dept at the one and only @mickeyzoggs. Eye gear as standard. Records will be rolling from 8pm til late, spanning all the Department styles you know and love from toe tappers to neck snappers, heavy lidders to slinky rollers, freaky tweakers to melty speakers.

Nevada Nate is unfortunately otherwise engaged in reconnaissance into sounds of the future, but will be very much packed in the bags in spirit.

Would be lush to see some of the friends of the Department if anyone's about and fancies it :)

Love love xxx

Bristol beautiesssss! Beta Motive here with a quick PSA...

This douche 👆 will be back in town this Friday evening to fly the good flag of 1983 for @the_land_speed_record_dept at the one and only @mickeyzoggs. Eye gear as standard. Records will be rolling from 8pm til late, spanning all the Department styles you know and love from toe tappers to neck snappers, heavy lidders to slinky rollers, freaky tweakers to melty speakers.

Nevada Nate is unfortunately otherwise engaged in reconnaissance into sounds of the future, but will be very much packed in the bags in spirit.

Would be lush to see some of the friends of the Department if anyone's about and fancies it :)

Love love xxx

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords

It's been fun dishing out a steady stream of reviews across various platforms so far this year. A pleasure to now be contributing to @firstfloor_newsletter as well as regular drops for @djmagofficial and @resident_advisor. Here's an ungainly summary to squint at on the grid, or obviously follow the link trail to read them properly innit! Shout outs to the artists and the labels continually creating the gold and keeping me curious.

@__decoder on @planetx.music // @shackletonofficial on @ad93rec // @d.soreab on @polaarsounds // nagoyaka na kaze on @wisdomteethuk // @snapsofbruce + lush remixers on @poorlyknit_uk // @carre__carre on @tempa.ltd // @regal86regal86 on @discosnutabe // Sun Electric on @de_tunedrecords // @75orchids on @planet.mu // @genagenagenaaaaaaa on @lexrecords