[Dublin] 25/10/08 DEAF: DJ Skurge (UR), Rob Hall (Skam)

Saturday 25 October
DEAF, Bodytonic, Synth Eastwood & Stasis present
DJ Skurge (UR, USA)
Rob Hall (Skam, UK)
Shawn Rudiman (Live, US)
Baiyon (Live, D1 Japan)
Simon Hayes (Stasis, Irl)
Toirse (D1, Irl)
video by Kavi (Stasis Lat)
Kachanski (Stasis)
+
Synth Eastwood Performance “Loop of the Day”
& Lost Classics Super-8 films:

Twisted Pepper
54 Middle Abbey Street, Dublin 1
9pm–2.30am
free before midnight
€12.00 after midnight
email: karen@deafireland.com for free passes

LOST CLASSICS:

Lunar Song Dir. Lana ‘Chide’ Sermon 1976 (18 mins)
Oh, Black Ethel! Dir. Destiny Law 1979 (16 mins)
On Serene Occult (did the fink rot?) Dir. Vesper B. Singlet 1977 (20 mins)
Raw Rats Dir. Reggae Locus 1977 (12 mins)
+ much more over 2 floors at Bodytonics newly renovated venue

http://deafireland.com/

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DJ Skurge
Like many other electronic artists from Detroit, Milton Baldwin was an avid fan of pioneering radio DJs Electrifying Mojo and the Wizard and this shared connection inevitably led to him linking up with “Mad” Mike Banks and the Underground Resistance crew. Baldwin joined up with Interstellar Fugitives, which led on to a coveted role in the Model 500 band led by Juan Atkins. He then went on to further cement his reputation as one to watch with releases like 2004’s ruise Ship Killer, released on 7” inch single under the moniker Aquanauts.

www.myspace.com/djskurge



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Rob Hall
Rob Hall began his career at techno night Megatripolis in London in 1992, with the first of many appearances with Autechre. Since then he has played support DJ on most of the highly successful Warp duo’s tours over the last 12 years.
Expertly blurring the lines between techno, electronica, industrial, ebm, rave, and electro in his sets, Rob’s skills have seen him engaged to perform at many high profile events and festivals over the years, including Sonar, Coachella, All Tomorrow’s Parties, Phoenix Festival, and special performances with Bjork in Iceland and at Warp’s 10th Birthday Party. From 1995 to 2006, he worked closely with Andy Maddocks and Ged O’Hara running the highly respected Skam Records label, releasing music from artists including Gescom, Bola, Shadowhuntaz and Boards of Canada. Rob has also contributed to numerous productions, remixes and live sets as part of the Gescom project, a collective that includes a diverse range of producers, including Autechre and Mego artist Russell Haswell, Skam Records’ Andy Maddocks, Bola, and Mike Williamson.
Radiohead, LFO, Surgeon, Coil, Oscar Mulero, Mark Broom and Exium all cite the work of Gescom as a big inspiration. The list of Rob’s fans is further testament to his influence and his refusal to commercialise his selections, and includes Mark Broom, Surgeon, Regis, Ellen Allien, Meat Beat Manifesto, Andrea Parker, Plaid, LFO, Squarepusher, Speedy J, Marco Passarani and Adam X.


www.myspace.com/ad_vanz



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Shawn Rudiman
Hailing from Pittsburgh USA, Rudiman is renowned for his improvised live sets, occasionally lasting up to five hours. Starting his musical career as one half of THD (an industrial/ IDM group), Rudiman fell under the spell of Detroit techno and utilising his extensive collection of vintage analog equipment, began releasing as Tr-Generation on his own Hypervinyl imprint. From there he went on to successful releases on Dan Bell’s 7th City Records before recently setting up his current label, Technoir Audio. Shawn’s production style steers clear of the standard club techno format, instead delving deep into the more jazzy, melodic, side of the genre - layering synthetic chords, bass grooves, keyboard harmonies and vocal snippets to create thickly textured, subtly expanding and inimitably danceable works.

www.myspace.com/shawnrudiman



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Baiyon
Kyoto-based Baiyon aka Tomohisa Kuramitsu is a multi-faceted artist whose work ranges from DJing and producing Techno, House and experimental music, to graphic design - where his deceptively child-like cartoon style is in huge demand from promoters and other artists. A previous guest at DEAF, Baiyon will also be remembered by Irish audiences as a contributor to Hans Fjellestad’s 2004 documentary Moog, screened at DEAF 2004.

www.myspace.com/baiyon




Kavi
Latvian video artist, illustrator and photographer Kavi has been actively involved in Dublin’s electronic music scene for the last two years. Aside from regularly playing live visuals, she has taken part in numerous A/V projects involving music, drama, dance and video. Her close work with collectives such as Stasis, The Alphabet Set and Parastate999 has seen her share the stage with the likes of Somatic Responses, Advent, Boxcutter, Shitmat, Starkey, Mr Ruskin, Cardopusher and Ebola. Kavi has also created several music videos for Irish and Latvian electronic music producers.



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Simon Hayes
Having experimented with computer arts since childhood, Simon was inspired during visits to Barcelona and Berlin by the European tendency to emphasise graphics and video in musical events. On his return to Dublin, his collaboration with Breakology’s Philip Lam resulted in the creation of Stasis|Collective, which during the last two years has grown to incorporate more than ten musical and visual artists from across Dublin. Often playing Ableton sets, Simon’s mixes feature glitchy soundscapes and techno orientated rhythms alongside the likes of Autechre, Tupperwear, Pan Sonic and Clark.

www.myspace.com/swarmintelligence




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Stasis
Stasis is a Dublin-based artistic collective formed in October 2006; its aim, to produce and perform through various multimedia and to provide a platform upon which new concepts of performance can develop. The collective also strives to promote and encourage the emergent art of VJing in Dublin.
Stasis has since organised a wide variety of events including audiovisual experiments such as Stasis Experiments, and twinned showcases with Berlin-based label Klitekture – events in which graphics, video and audio play equally important roles. To date, Stasis have worked with MWB Promotions, Klitekture
Records, Canaria Crea and Life Festival, while they have also been promoting Irish music and visual art abroad, playing in Berlin, and in Barcelona during Sonar week 2007. Currently in the works is Stasis|Net, a free, web-based record label showcasing the collective productions of Stasis artists.

www.myspace.com/stasisireland



Loop of the Day
Synth Eastwood and Loop of the Day team up for DEAF for what they describe as a live loop-off. The brainchild of Philip Boyle, the idea behind this project is to publish a new royalty-free loop each and every day. The loops (submitted in any style from producers all around the world) are provided under a creative commons – thus they are free to download and can be used in any way once the originator of the loop is credited. Performers will be given exposure to the collection of loops submitted on the day of the gig allowing them 12 hours to familiarise themselves with the content. During the perfromance they will come face to face in the loopring, battling it out to prove the might of their ‘loopiness’. Battles will go on until someone is crowned ‘No.1 Looper’.

Lost Classics
Super 8mm was the medium of home-movie entertainment before the advent of videos or DVDs - ‘home entertainment’ in terms of commercial entertainment adapted for home use as well as family holiday movies. Lost Classics is a programme of commercial feature films from the late 1970s re-edited for distribution on Super 8mm. These re-edits are fascinating, condensed versions of more familiar stories and imagery, never before seen outside the domestic circuit of the late 70s, and long since out of circulation. In most cases these films were of average feature film length - 90 to 120 minutes - but are here seen cut down to between ten and 20 minutes. These re-cuts were often subtitled as silent films. In this present era of progressively faster and more condensed storytelling, these re-cuts are a fascinating window into a past era of cinematic storytelling with a more deliberated pace, framed within a yet earlier era of silent cinema.





DEAF

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Photo: Skurge with the Interstellar Fugitives @ DEAF 07

Dj Skurge interview from Famzine:

F: How long have you been with UR?
S: I’ve been with UR for 2 years.

F: Tell us about the tracks you have on IF2.
S: Two of the tracks I produced myself and the other two with The Aquanauts. Each track has its own flavor, some electro, techno, etc. But the track that was the most vicious and exciting to produce was Crackzilla. We’ve received some great feedback on that track and my goal is to keep it coming.

F: Which came first for you, DJ or working on tracks?
S: The DJ aspect came first. I learned how to mix back in 93 on some jacked up, but functioning Technics that my neighbor let me borrow. He had two records that he let me learn with that I still play today; “Future” by Model 500 and “Numbers” by Kraftwerk. Those two tracks were my first mix, haha. I left the turntables for the guitar in 94 and didn’t return until about 97.
I didn’t start doing my own tracks until about 2001. The new software releases gave me the beat making bug, especially after a friend introduced me to Reason, which let cats start making music with minimal funds.

F: How did your love for rock music come about?
S: The first time I heard “Kashmir” by Led Zeppelin!, haha. I think I was about 12 and my best friend’s father at the time was a Zeppelin fanatic. I was hooked.

F: Who are some of your favorite rock artists? Any current radio/Internet favs?
S: Which decade? haha. Too many to name. Hmm. Hendrix, Zeppelin, Funkadelic, Floyd, Sabbath, Fishbone, Jane’s Addiction, Living Colour, Rush, AIC, Zappa, B-52’s, Clash, NIN, Primus, Tool.
Currently, I don’t listen to much new stuff, as I’m out of the loop. And when I say new stuff, I mean good bands that aren’t on the radio much, if at all. You have to be in that scene or know some people that are. The radio is too programmed, so I don’t listen much. I always keep some Tool in the ride though!

F: Do you have any gear on your Christmas list?
S: There’s always something on my wish list. That’s why its called a wishlist!

F: How do you mix gear and software?
S: Currently I’ve been moving more towards hardware, instrument wise. I really only use the computer as a harddisk recorder, editor and for archiving. Sometimes you need a break from the computer screen.

F: Give us some info about your new mix CD.
S: Well its a project that is being released care of Japan. It should be available within the next month or so. I wanted to lend my style to the UR catalog. The mix spans early UR to unreleased tracks, to some soon to be realeased tracks.

F: How was the IF show at the Hague?
S: Den Haag was a great show. We played the Today’s Art Festival. Lots of UR fans came out to support. The Fugitives and the DJ’s showed no mercy!

F: We hear the Aquanauts project is heating up….
S: Hot like fire!
We are doing a few adjustments to get the live act fully operational, but in the meantime we are working on new releases to satisfy our fans’ aquatic electrolust. I feel really good about what’s on the horizon for this squad. It is some wicked ish!!

F: What studio knowledge have you gotten from Mr. Banks?
S: A great deal. I would say that what stands out for me is the fact that a producer is more than someone who “makes beats”. There is studying involved, R & D, conceptualization, experimentation, etc. Its an entire package that takes dedication and hard work. At the end of the day, you get out of it what you put in.
Oh yeah…being funky can’t hurt either!!

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Shawn Rudiman interview from 11th Hour Technology .



11th-hour :How did you first become involved in music (both electronic and otherwise)?

Shawn Rudiman: I was always listening to music as a kid, rock and such or whatever my parents had around, and when I heard synthesizers I was like, woah, what’s that sound?! In the early 80’s synth-pop had me totally absorbed - Duran Duran, Naked Eyes, Thomas Dolby, Human League, Flock of Seagulls. I couldn’t get enough of them. I had tapes with the same song over and over for a whole side. I got into production about 88-89 or so and was doing EBM /industrial stuff that I was into for a good while. I just kinda kept getting deeper and more serious with it. Until one day I kinda stepped back and realized, man - it’s become the biggest thing in my life. But music was always around me as a child.



11th-hour: When and how did you first write and release music of your own?

Shawn Rudiman: The first thing I ever released was in 91… It was a track on a EBM noise CD called TEKNITION –‘Man is the Animal’. Then from there my friend and studio partner Ed Vargo and I formed THD – Total Harmonic Distortion. More experimental kinda EBM stuff… That eventually led me to techno and Pittsburgh.



11th-hour: What was the catalyst for you to become more directly involved with Techno?

Shawn Rudiman: Mainly I moved to Pittsburgh to really pursue music as a ‘career’ of sorts. From there I ran into Trevor Combee who later became a close friend and label partner in Hypervinyl records. He kinda guided me towards techno and such. Then my first gig was with Selway, Christian Smith , Alexi Delano and Mark Gage. So after that I was totally sold.



11th-hour: Can you tell us a bit about Hypervinyl records - what was your involvement, and what sort of music were you releasing?

Shawn Rudiman: Hypervinyl records was started by myself and Trevor. We did 3 records under it - we released moody electro, and the full range of techno. Mostly swinging "housier" or Detroit kinda techno. To me it's just techno, but you have to describe it to everyone else in the world now since techno has become BOOM BOOM BOOM BOOM. Whatever. I did the first record with Trevor... him on one side, me on the other as "Tr-Generation" - electro/techno split. The second record was me alone under the Tr guise and was also techno and electro... the third was me under my name and was by far the best. 3 techno 1 electro. Real jazzy shuffled syncopated techno... with (oh my god!) MELODIES! Oh wait ....if it's musical isn't it house?



11th-hour: How did you link up with 7th City?

Shawn Rudiman: Trevor had some people here book Shake (Anthony Shakir) so we all went and then hung out afterwards… Shake and I got into an argument about computers and analog stuff… well Shake came over then next day to the studio to hang. He thought I had just recently gotten into all the analog stuff… when he found out I’ve always been into it, he apologised… calls my place the ‘synthesizer museum’ …anyway I had a CD that I just finished up, playing in the background and Shake really liked it, so I said take it, it’s yours - I really had no intention of soliciting it to him. So he listened to it - liked it a lot and wanted to release it under Frictional. But he didn’t have the resources at the time so he had passed Dan Bell at 7th city. Dan really liked it a lot and released it. Etc etc.



11th-hour: How and why did you choose to set up your own label, Technoir Audio?

Shawn Rudiman: It just seemed logical after Hypervinyl. It was necessary for me to have a label to release my own stuff on. Here I have total control of what comes out and how.



11th-hour: What drives and inspires you to create music?

Shawn Rudiman: Life and its experiences #1. Emotions and feelings #2. And anything that has contact with me in any way. It’s kinda weird. Everything affects what an artist does really. Music to me is the best release of emotions I have found. It’s my therapist and psychologist and all that all in one. It’s my vent, for good or bad. The act of creating is probably more important to me than the final product. Tracks are tracks. But if I feel better after I do it, that’s more important to me really.



11th-hour: What music have you drawn inspiration from, both in the past and today?

Shawn Rudiman: There’s so many influences it’s really hard to pinpoint specifics. I always try to listen to different things - it’s better for the output.



11th-hour: Do you feel that your music is affected by what you experience in the world around you, and if so, how?

Shawn Rudiman: Absolutely, my art reflects my life. Period. Anything that is on my mind comes out in my work. Shouldn’t it be that way if you’re really doing worthwhile work? I would think that anyone doing respectable work would have that quality…you’re expressing your ideas about something. If you’re not, ****ing quit.



11th-hour: You are reputed for your ability as a live artist – can you tell us a bit about your live sets – how you create them and where you would like to develop them?

Shawn Rudiman: Thanks. I try to do a good job with them. My live sets are smooth fluid and non stop unless I deem to stop them. They are impromptu. Like 90% impromptu. I only have riffs on a little sequencer that are a ‘preset’ structure and all the drums are done as I go. No patterns… they all repeat. Just 1 or 2 measure repeating patterns that YOU have to erase and re record while you go. No switching, no preset stuff. I try to keep things as live and flexible as possible. Why? It’s a LIVE set. Not a ‘pre-recorded and sequenced audio file.’ **** people who do that. Anyone can make tracks and arrange them on the computer and hit play. Maybe filter something or do a couple things here and there. Whatever. That’s just not how I work. Most people though don’t give 2 ****s what people do up there.



11th-hour: Do you feel that live sets are a somewhat overlooked medium for electronic music?

Shawn Rudiman: Yeah, for the simple reason that most are very automated and pre-structured and even pre-recorded. To me that’s not live that’s a sham. They could play 3 days in a row and play the same EXACT set. What the hell good is that. You’re a ****ing jukebox. I can play whatever wherever whenever. At any tempo or no tempo.



11th-hour: What equipment do you use for your sets (and production), and do you feel this has an important effect on the music you create?

Shawn Rudiman: For my live sets I use what I had available at the time. 909, Virus, MMT8, Korg ER-1, FR-777, Mackie 1402, Boss SE-50 and HR-16B. Simple and flexible. Most of all this can be done on newer machines, but alas, I’m poor and have no ****ing money. So I have to use the machines I’ve always had. No bull.



11th-hour: What are your thoughts on DJs, and is this a field you would like to be involved in at all?

Shawn Rudiman: I DJ. I don’t hate DJs at all. They’re staple. I’ve seen REALLY good ones and a lot of really bad ones. I’m actually a pretty good DJ. Most people just assume that I’m a one trick pony. I just don’t have the money to buy records. I can only buy ones that really grab me. I’d love to get DJ gigs but none book me for them. I guess my live sets are where I feel the most comfortable though. I have complete control and flexibility to do whatever I see fit.



11th-hour: To what extent have your music and label projects been involved in the development of the music scene in your home town?

Shawn Rudiman: Pittsburgh doesn’t really care about anything going beyond raves. There are only a couple of people who look beyond their ‘fishbowl’ here. People here are sheep and candy kids for the most part. I can’t write them all off though. Every once in a while people can go past all that crap. And hang around because they love music and not the scene or the drugs. We save who we can and forget about the rest.



11th-hour: Why do you think that quality Techno is taking such a long time to catch on in the States (particularly as many people would argue it was the main centre of its inception)?

Shawn Rudiman: Techno in it self will never be big here. America will always be a rock and roll format system. It was the same with jazz…‘where’s the words?!’ Whatever. The average person here thinks techno is anything with a 4-4 electronic kick drum. Or even anything electronic. It seems that a lot of people involved in this ‘scene’ now really have come to believe that techno is fast hard and ADATT (all drums all the time) whatever. America’s never going to understand it as a whole.



11th-hour: Has your music been as well received in the States as in Europe?

Shawn Rudiman: No. Not at all.



11th-hour: Are you satisfied with where you are musically at this time, or do you always strive for something further?

Shawn Rudiman: I always want to go further, do new things. Be somewhere I haven’t been before. I’m really never happy for too long musically. I don’t want to do the same song twice. Not even for money.



11th-hour: What plans do you have for the future of Technoir Audio, and do you have any other projects in the pipeline?

Shawn Rudiman: I just finished an album for Technoir, “SYNTHESEXUAL” is the title. It’s a full album, not just 14 treacks of pounding techno. It’s got a lot of stuff that goes from ambient to pounding, soul, electro, techno, house, broken beat. BUT it’s cohesive as a whole and between each other. It’s as it should be.



11th-hour: Do you work alone, or do you intend to collaborate with other artists?

Shawn Rudiman: I usually work alone. I’d like to work with people, but I haven’t had the right chances yet. I’m kinda picky.



11th-hour: Are you ‘purely’ into Techno, or are you still involved with other styles?

Shawn Rudiman: No, I do a lot of stuff. Anything with integrity. I love house, ambient, trip hop, electro-new wave stuff, broken beat/jazzy and experimental stuff.



11th-hour: What is it about electronic music that you love so much? Why is it such a force in your life?

Shawn Rudiman: It allows me to create a world and feelings all that same time. I build a world from silence. And fill it with a desired emotion/s. It’s my escape. My vent. My child. My lover and sometimes my worst enemy.

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Simon Hayes Dj set from Redrum August 2008 http://www.stasiscollective.com/Audi...yes@Redrum.rar

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http://www.stasiscollective.com/