01. 0:00:00 Simulacrum – Samba tem digital
02. 0:04:02 Juan Atkins – Other Side Of Life
03. 0:07:10 Der Zyklus – Diffeomorphism
04. 0:09:32 MU – Out of Breach
05. 0:12:12 Phuture – Acid Tracks (12″ Version)
06. 0:16:38 Adonis – No Way Back (Instrumental)
07. 0:21:26 Model 500 – NO UFO’S (Instrumental)
08. 0:26:46 Simulacrum – Zona Contacto
09. 0:28:12 DJ Joe Lewis – Acid Falls (Original Mix)
10. 0:30:52 Da Posse – It’s My Life (Aluh mix)
11. 0:34:52 Steve Poindexter – Computer Madness
12. 0:37:24 Despina – Alexa In Disrepair
13. 0:40:16 Traxman – BAD INDIGESTION
14. 0:43:46 Simulacrum – Bloco Techno
15. 0:47:44 Der Zyklus – Eigenface (Facial Asymetry)
16. 0:50:46 Model 500 – Digital Solutions
Riddim writing, software affordances, rhythmachine music.
This mix is far from perfect. It was recorded live and thus presents a “snapshot” of my thinking/feeling “in-the-mix”. It was made using MIXXX, a free/livre and open source (FLOSS) DJing/podcasting software and with a near pocket-sized Numark DJ2GO2 Touch USB controller that I bought last year to use while on a series of residencies in Brazil. The device compromises on controls for size, so it does not have separate pots for Hi/Mid/Low EQs on each channel that would seem essential for mixing. Instead it has a single knob that is mapped on MIXXX to a Lo/Hi cut sweep filter.
These genres of music are also relatively unfamiliar to me. I learned to mix garage, grime, dancehall, desi, baile funk, hip hop and what became known as “global bass” in the early 2000s, performing as Sven Simulacrum. I stopped around 2012 to focus on other research interests. Recently I’ve been curious about the abstract sonics and asymmetrical rhythms of “experimental dance music” (EDM) often made by producers who are “adjacent” to established genres such as footwork (Jlin) and ballroom (quest?onmarc) alongside high energy styles forwarded by labels including Principe, Lisbon and Yes No Wave, Yogyakarta. Music that I’m tentatively calling “other technos”.
The notion of “techno samba” emerged during fugitive radio’s recent time in Brazil, and particularly while in residence at Residência São João (RSJ); a farm, coffee plantation and self-organised artist space in the countryside of Rio De Janeiro in late October–November 2022. RSJ is reputed for its somsocosmos music residency, so I sought to spend my time there to working on sound production. Before leaving São Paulo late in October, I met with Coletivo Digital [Instagram] at their space in Pinheiros and my first task at RSJ was to I edit our conversation for a podcast. The collective had sent me a song to use, “Canção tem samba” by Trilha Sonora, recorded in their FLOSS studio and I’d thought to make a remix, also using FLOSS; specifically a suite of programs I was working with for Thalaam Riddim Reapers, alongside Luci Dayhew and Brendy Hale. Simultaneously, I undertook the same process with the popular proprietary music production and performance software Ableton Live, to understand the different affordances of these digital tools. I must admit, I was much happier with the results in Ableton and continued to use it to develop what became “Samba tem digital”, thinking once I was done I would return to a FLOSS set-up.
I should have seen it coming, but after some days of tinkering I opened a folder of musical skeletons I began in Ableton, 2018, when I first visited Brazil. At that time I was working on an urban research/cooking project, but had some inkling beforehand that Brazil would re-ignite my interest in music, as I had purchased a small USB keyboard that came packaged with an LE version of the software. In Rio I intuitively began making recordings on my smartphone of music I would hear everyday in my unfamiliar surrounds. This was also during the time of the presidential elections and there were regular demonstrations—manifestaçãoes—in the streets and plazas, notably the ele não campaign against Jair Bolsonaro, who went on to win by a significant margin. In Rio, I began to transcribe some of the rhythms I had recorded into MIDI—“riddim writing” is how I described it, as it bore some resemblance to writing, editing and fine-tuning text. After the patterns were entered into the software, I would run them through different drum kits and samples. Swapping drum kits on the fly is simple to do in Ableton and can lead to surprising results. I wasn’t sure what to do next. I sent a couple of riddims to some friends whom I thought might be interested to voice them, but received little response. Later I dropped them into fugitive frequency podcasts, just to put them to some use and to “see” how they sounded.
At RSJ, I was the sole inhabitant at figuera, a ground level cottage by an unsealed road that ran through the property, that could have easily housed four or five more residents. I had a small PA at my disposal and would often spend my nights mixing tracks, knowing that I wouldn’t be keeping anyone awake. My closest neighbour, Javier, was maybe 20 meters or so down the road. While I would make noise in the evenings, he would wake up early to practice trumpet and we never seemed to bother each other. Prior to moving to RSJ during the COVID pandemic, Javier was based in Rio where he’d been involved in a gallery/project space where I believe he was brewing beer, a practice he was carrying on at RSJ. I asked if he was thinking to play trumpet with others—maybe join a samba bloco?—a popular sport of sorts in Brazil. He said something about playing in a “techno samba” group and I was intrigued.
In July last year Kode9/Steve Goodman released his album Escapology (2022). Like many others, I have much respect for the London based DJ, Hyperdub label boss and theorist. Alongside his colleague Kodwo Eshun, whose book More Brilliant than the Sun (1998) unleashed a slew of concepts concerned with black alienation, technology and “rhythmachine music”, Goodman has been a steady influence on my thinking about sound and EDM. At RSJ I listened to some recent interviews in which he recalled his early love for jungle, which reminded me of the “hardcore continuum”, a termed coined by another of Goodman’s contemporaries, music journalist Simon Reynolds. It describes morphing but consistent musical genres and scenes that extended from early hardcore rave in the late 1980s UK, to jungle, drum and bass, garage, grime and dubstep and its ecology of record shops, pirate radio stations, parties, promoters and clubs. The notion of a hardcore continuum has propelled my interests in EDM from the time that jungle and drum and bass first entered my consciousness growing up in Sydney, and a curiousity to tap back into it is what prompted me to start mixing again for fugitive radio.
It was again the time of the presidential election when I returned to Brazil in September 2022, and shortly after I arrived at RSJ a second run-off election was scheduled. While now relatively removed from the action in the bigger cities, the mood at the fazenda and among its community was anxious. On the day I arrived, I was swept up in a manifestação organised in the nearby town of São José do Vale do Rio Preto. The following weekend, on the 30 October election the working class icon and former president, Luiz Inácio “Lula” da Silva defeated Bolsanaro by a narrow margin, indicating that the country remained polarized.
So it was strange to find myself in the after glow of the elections and among RSJ’s idyllic surroundings in late Spring, turning to Reynolds’ 2012 book Energy Flash, which recounts his experiences of early rave and jungle in the UK, and following the scene as it transformed in the US. Early in his book Reynolds interviews Juan Atkins who coined the term “techno” to describe the music he and his friends were developing in Detroit, inspired by his high school readings of Alvin Toffler’s book Future Shock (1970) and its sequel The Third Wave (1980), which includes references to “Techno-Rebels” who “embraced technology as a means of empowerment and resistance”. Reynolds recounts Atkins describing himself as a “warrior for the technological revolution” (Reynolds 2012). For me, Atkin’s attitude reminds me of the techno-optimism of early net culture and open source movements; perhaps a “past potential future” to use a phrase associated with the Otolith Group, a collaboration/collective co-founded by Eshun and Anjalika Sagar in 2002, known for their film-essays. Reynolds points out that Atkins and his friends and collaborators, Derrick May and Kevin Saunderson—mythologised as the Belleville Three—used the term “techno” to distinguish themselves from the other black dance music gaining popularity in the UK: house from Chicago. In his recent history of Detroit techno, Assembling a Black Counter Culture (2022), DeForrest Brown Jr [Instagram] notes that May preferred the term “High Tech Soul”, which became the name of a 2006 documentary.
Reynolds describes house music as “inorganic”: “machines talking to each other, in an un-real acoustic space” (2012: “New Jack City), which resonated with my experiences of working with software. He emphasises the musical form of the “track” (ie a drum track) rather than a song (2012: “Disco’s Revenge”), as a tool developed by house music DJs such as Frankie Knuckles (1955–2014); “house” being a contraction of “Warehouse”, the Chicago club where Knuckles honed his skills. Initially made on reel-to-reel tape, these would be used to mix, supplement and extend long instrumental sections of records. So the “techno drum track” became the point of reference to the music I was developing at RSJ and I adopted Javier’s phrase, “techno samba”, to describe it.
I’m aware of a recent re-appraisal of techno in sound studies, black studies, queer studies and contemporary art. For example, the short film Black to Techno (2019) by Jenn Nkiru, comissioned by Frieze and Gucci for their series Second Summer of Love (2019) recalling the music-driven cultural revolution of 1988.
Indeed, madison moore and McKenzie Wark, editors of a recent edition of e-flux Journal themed “Black Rave” (December 2022), issue a call to develop the field of “Techno Studies”.
Most significant is the campaign to “Make Techno Black Again”, fronted by the aforementioned writer and musician DeForrest Brown Jr/Speaker Music. With his interests firmly rooted in the black working class experience of Detroit, Brown Jr’s book Assembling a Black Counter Culture (2022), proposes to delink techno from the hardcore continuum and its associations with (European) rave culture and rather re-frame it as a distinct African American artform and “embodied aural history”. Perhaps a hardcore discontinuum?
Brown Jr presents his thoughts as an extension of Eshun’s writing and he also responds to ideas raised by Goodman in his book Sonic Warfare: Sound, Affect and the Ecology of Fear (2012). In the podcast below produced by Haus der Kulteren der Welt, Berlin and Camden Art Centre, London, 2021, Brown Jr, Goodman and musician Nkisi discuss the migration of techno from Detroit to Europe.
While I’m still working my way through Brown Jr’s detailed volume, it has pointed me towards some interesting music and history, some of which appears in this mix, notably the “acid house” tracks: Phuture’s “Acid Tracks” (1987), Adonis’ “No Way Back” (1986) and Steve Poindexter’s “Computer Madness” (1989). I’m also curious about the continuity of acid house in footwork, as can be heard in productions by Traxman (AKA Corky Strong), whose “Bad Indigestion” from his Acid Lyfe (2018) release also features in this mix. His 2019 reworking of Steve Poindexter’s “Work that Mutha Fucker” (1989), pressed on the same record as “Computer Madness”, is another notable track.
Another influence is Brown Jr’s descriptions of how house DJ’s would loop and mix instrumental rhythms breaks and drum tracks, into repetitive hypnotic sequences that could last up to an hour or more—“music that would never stop”, according to Larry Levan (1954–1992) the legendary DJ at the New York’s Paradise Garage in the 1980s. A combination of these readings and the qualities of these musics have led me to attempt looping and crossfading back and forth between tracks more than I am accustomed to doing, and admittedly with mixed results, nevertheless giving a sense of where “techno samba” might go. Another technique I’m curious to experiment with, but am limited by my current set-up, is the “rhythmic fader” DJing techniques of Derrick May (listen here) and that I find reminiscent of another influence on my mixing, Venus X (listen here). (Incidentally Venus X also features in Wu Tsang’s contribution to the Freize and Gucci series, Into a Space of Love (2019) concerned with New York House.)
While I am processing Brown Jr’s arguments in this mix, as a testing ground for thought, I nevertheless regard my approach to techno is in its most generic sense, ie rhythmic dance music made with machines.
fugitive radio rádio em fuga in Brazil 2022 was supported by the Australia Council for the Arts.