D E E PC H I L D
Anyway, sort of as a result of doing this podcast I kind of
thought well…, and yes,’ he remembers another source of
material for his podcast and this music he produces under a
different name, ‘Archive recordings from the Lomax archive.
I mean, I think Moby made a hatchet job of it. I have to tell
you I’m not a massive Moby fan, but he was exploring these
archive recordings in one sort of way, which I would very very
cautiously suggest he was bordering on cultural hijacking,
with his use of old recordings like Vera Holtz. I’m not trying
to judge that, but I’m interested in going through cultural
refuse and re-appropriating it in a different way. That’s what
I’m trying to do with this podcast series, and partly with
Deepchild and very much so with these projects that I’m
doing. That’s the short story long. And to dove tail into that
there is a Berlin true line, that since being here my taste in
music has broadened a bit and my understanding of what
Techno can achieve has also broadened. That’s lead my own
productions into stuff that you might hear on the Pleasure
System label or Stroboscopic Artefacts, and again Blackest
Ever Black. This stuff it’s got roots in techno and industrial
music, but is starting to mess with it. And of course everything
that Burial has done in the last few years is also paralleling
this perversion of the form. And that’s exciting for me right
now. Whether it be Dubstep, Techno or House I’m seeing an
emergence of people who are reverting to a puritanical take
on House, like ‘This real House” or “This is real Techno” or
whatever, who haven’t necessarily had that historical
engagement with the form, and so it’s kind of frustrating. I’m
not interested in making real House music or real Techno. I’m
interested in creating new mythologies particularly now as
EDM and whatever is big business, the forms are becoming
more calcified and restricted. What is saving me is trying to
find routes to fuck with my own shit a bit. Or my own notions
of historical authenticity.”
Deep stuff, but that’s what to be expected from Deepchild. I
remember his live sets weren’t pre-recorded music pieces
that he’s written but his analogue gear set up and the music
was half created on the fly with no preconceived idea of what
he was going to do or where the music was going to go.
“Which sometimes backfired, but only in a good way” he said
with a chuckle when I reminded him and asked how is his
new source of material, which appears to be all digital, fit in
with his old analogue ethos, or is that now a thing of the past?
“I wish you could see my studio here because I produce a lot
with analogue equipment still, I have more analogue than
ever, but Ableton is my DAW that basically I’m cutting up loops
of the stuff with, but the sound sources is less important to
me. To be honest a lot of my sounds I’m getting from, like I
was saying, archive recordings, YouTube rips, really fidelity
independent stuff. Often the more artefacts in the sound the
more I’m drawn to it, still. That’s remained a constant, the old
Deepchild stuff is noisy and dubbing and I’m still pretty partial
to that kind of sound I guess.
Earlier that day there was 7FGW2WFFRg&