one small seed was super hyped to get the chance to catch up with the guy who Rolling Stone voted in as one of 2012’s Top 10 ‘DJ’s Who Rule the Earth’. And although we’re pretty sure he’ll make 2013’s list, we’re more sure making ‘lists’ aren’t really his thing. Unless, of course, it has the prefix – ‘set’ – before it.

I was never a fan of DJs that play the hits, it’s too easy. Even back then when I was working in a record shop… I got lots of promos but I stopped playing them when everyone else got the same record. (Ridha)

Boys Noize, image: c/o one-eyed-jack

When in SA will you take time to engage in our country’s unique styles of dance music? For example township -tech, kwaito, shangaan electro?

Yes totally; I’m gonna’ spend almost two weeks around my shows. I am so excited to check out the culture and of course the diversity in electronic music. I’ve heard so many good things about some crazy styles.

What is the first memory of electronic music you have? Good or bad… ?

Very good! I was at home in the room of my brother (who’s eight years older) and he was doing the ‘Walkman’ X ‘pump’ dance to those early house records from Farley ‘Jackmaster’ Funk, Steve ‘Silk’ Hurley and Trax Records or Bomb The Bass. I was only six or seven years old so I didn’t know it was house music.

What are some of your fondest memories from when you worked at Underground Solution in Hamburg? Is the shop still around?

That was the BEST TIME, really… So many good memories. I remember I was there the first time when I was 14 years old. I bought a few disco-house records but I only had one shitty turntable from my parents at home. After some months I ended up going there every day to check out all those house records and dig deep into all the different labels and I bought myself a set of two shitty reloop turntables and a mixer. One day the chef asked me if I wanted to work there, ’cause I was spending all my free time there anyway.

I started to work there as well as keeping my other job as a cleaning boy (where I made way more money) in order to keep buying all those records I wanted. I got crazy addicted to vinyl and stuff but at one point I couldn’t stand the cleaning-boy job anymore so I decided to only work at the record store. A few months later, my chef offered me a warm up gig in a proper house club for about 600 people and I was playing right before Boris Dlugosch, who was the local hero, so the full scene was there and I kinda’ rocked it (laughs). I was only 16 years old and super slim, but yeah, after the gig everyone came to me to give me big-ups. That one night changed my life!

What was the last record you bought?

There were a few. There is so much good stuff on vinyl right now. I bought that Kyle Hall 2×12″ and some new L.I.E.S. records. I really like all these rough house and techno productions that are having a comeback.

The deep house scene in Hamburg was really notable in the ’90s – different to Berlin, which was much more techno… Growing up there, during that time, what were some of the labels, clubs and DJs that moulded the early sounds of Boys Noize?

I was always a fan of those homemade weird production records that don’t sound too clean. Lots of Theo Parrish, Moodymann/Sound Signature, Guidance Recordings, Glasgow Underground, Henry Street, Ian Pooley… but even some Ibadan and all Masters At Work of course.

When I started off in ’96/’97 it was also the time of the first French Touch, especially all those early Roulé/Trax On Da Rocks releases by Thomas Bangalter really shaped me as a producer. They had the vibe of Chicago’s Dance Mania Records but the production was more special.

And then I discovered Disko B and Gigolo Records a little bit later and I started to lean more towards electro and techno, and right after all those it was Berlin labels like Sender, BPitch or Shitkatapult. I think that is when I found my own sound.

In Mark Dery’s text titled Black to the Future, he states ‘Techno, whose name was purportedly inspired by a reference to ‘techno rebels’ in Alvin Toffler’s Third Wave, is a quintessential example of Afrofuturism’ – What are your thoughts on this?

I think techno is way more then just a music style. Techno for me is also almost a lifestyle; although I wouldn’t say my music is techno. We make the music we love and we don’t really care what other people say. In a way, techno started out like punk music, a movement against the so-called ‘commercial music’. Techno clubs were dark and banging and you could loose yourself for hours listening to the hard 4/4 rhythm. I don’t know what ‘Afrofuturism’ means but maybe it has something to do with this?

image: residentadvisor.net

You’ve commented that Mr Oizo is ‘the best producer in the world’ — what, in your opinion, are some of the key factors that makes a great producer?

(laughs) Yes, he definitely is one of my favourites! First of all it’s the sound. It doesn’t happen much anymore when I get fascinated by a sound of a certain producer but still Mr. Oizo does that to me. His production is always on point, kind of minimal but always playful and lots of fun. For me, those factors are the most important. Don’t get me wrong, I like more serious production too but I prefer to hear something where you think ‘WTF he’s got balls. It’s the same with those Theo Parrish records – sometimes they are so rough you can’t even play them but that’s exactly the reason why I do play them (not at a festival haha!). But, yeah, I think producers shouldn’t take themselves too seriously; it’s no fine art, it’s about simple emotions. We do this for fun and basically as a hobby and electronic music has no rules. Every time I hear a producer that breaks out of their own style I’m happy.

And, then what make’s a great DJ set?

Well, there are some factors. First of all let’s take a small club (say 500 people), second would be great banging sound and third being not too much light. I think a good DJ has a good feeling for moments and the DJ does the right balance of playing new shit no one has heard of but also giving the people a little candy (no real candy) every now and then. Again, you are a DJ at a PARTY and I think it’s most important that everyone has fun and can go crazy. So, yeah that’s basically it (laughs).

I’d rather try and break a new record into a hit; trying something out is what a lot of DJs don’t do enough I think. If I would play hits only I’d be retired from DJing already.

image: commons.wikimedia.org

In an interview with Gigwise on talking about Daft Punk’s latest album you said ‘No one really does it like they do – and no one can do it.’ I agree! Without blowing any horns here, what do you think you do that that makes you stand out for others, such like Daft Punk stands out for you… ? Or at least something you are spending solid hours on developing. I mean Rolling Stone voted you amongs the Top 10 `DJS WHO RULE THE EARTH` in 2012…

Thank you, I can’t really name it, I think. I do look for sounds that other people don’t use. I buy so much music every day and I look out for music every day, so I try to find a way for exciting myself with sounds that I don’t hear in the same context I guess. The music I do has to excite me and when it does it has an effect on other people or producers. Also, I’m happy I can finish making records easily; I don’t overthink my music too much, which I guess a good thing.

In today’s money-making world of EDM, how do you maintain your sense of passion for the Art without giving in to the dollar?

I just trust my feelings to be honest. Also, I’m not the kind of guy who makes an EDM-type of record and put it out, I just cant, it’s not my style. I am happy with the way I live and the way I make my music. I don’t have to start making music for a business reason, it just ain’t me. I do love pop music and all that but for my own music I have a good vision. I was always careful what I put my name next to, for instance I never did remixes for acts I don’t like just for the money. It is not easy doing it the way I do and some people might think I’m stupid, but yeah, I’m so happy to be where I am without doing the obvious shit.

BNR (Boys Noize Records) recently had its 100th release, which of those 100 releases do you think will be considered a genuine classic 20 years from now?

(laughs) I don’t know but there might be some timeless bombs here and there I think some of the stuff from Housemeister, Strip Steve, Djedjotronic or SCNTST are always anytime good to play.

image: mixmag.net

Erol Alkan has been supporting your music right from the beginning leading to many collaborations with him. How did your collaboration with Skrillex come about (recording as Dog Blood) and what is the concept behind the release?

We didn’t plan this. I took off time from touring last summer so I was in Berlin all the time. He had a show in Berlin and I invited him over to my studio. We spent a lot of time playing each other’s music until we started to play around with some of my analogue gear. We recorded some sounds and put them onto his computer… in the end he crashed at my place and we ended up doing two tracks. Both of us knew we didn’t want to call it BN and Skrillex, so we decided to start this new project instead. The record came out in August 2012 but we didn’t tell anyone about it until our first festival show in March this year.

You were a warm up DJ early in your career. Do you feel that it is dying art in today’s world of huge festivals where the crowds want instant music from the get-go?

Well, I think it’s coming back more and more. There’ll always be cool clubs and there needs to be a guy who sets the mood right and gets the girls and boys dancing, right?

Do you feel it’s essential for a DJ/Producer to release their music on their own record label in order to give oneself longevity in the industry?

No, it works both ways. Look at the Chemical Brothers or The Prodigy for example. You can do it either way.

I’ve just seen too many producers trying to enter into pop after a while on a major label… I like to have 100% control of the way I release my music.

image: thekoolkids.com

Is there more pressure or a difference when remixing a current artist or when remixing a classic artist like you did with CJ Bolland’s ‘Horsepower’?

For me it’s almost the same thing. Generally it’s tough to remix techno tracks like CJ Bollands. (especially when there are no stems haha). Though, it was quite difficult to remix the Daft Punk TRON: Legacy soundtrack.

Any Alva Noto X Boys Noize collab? You mentioned he might not be up for it, but we thought you wouldn’t be up for this interview… (you might not be, I’m sending these off in blind faith)!

Yes! I’d be totally up for this! You know what, I just did a remix for ATOM TM which is coming out on Raster Noton and they all love it!!!!

Who in the future would you like to work with?

I’m happy the way things are. I love making music with Gonzales and we are actually work on a new album. But if you ask me, maybe Prince :0

Please finish this sentence: ‘South Africa…’

South Africa is where one of my best friends comes from and the place I will visit this year for the first time. I am really excited !!! oi

interview by Sarah Claire Picton and Bradford Newcomb
images: C/O one-eyed-jack, residentadvisor.net, mixmag.net,commons.wikimedia.org,thekoolkids.com

Relevant Links

BN Facebook
BN Site
BN SoundCloud
Vodacom in the City
Rocking the Daisies

Official music video for ‘What You Want’ by Boys Noize on YouTube

image : chezbeeperbebe.blogspot.com

image : sandradieckmann.blogspot.com

Dieckmann had no intention of living in London but through a series of events has now settled and has a quaint studio/ apartment. In a recent interview with Etsy Blog she says ‘The circumstances of my life have put me in a place that I love and that I call home. Here in East London, UK, I work from my home studio as a freelance illustrator. With my cat, Little Crumb, and my friends around me, I have built myself a colourful nest filled with animal faces, books and things that inspire me. It’s a good life.’

image : lostateminor.com

Dieckmann’s main source of musing is nature, wildlife and friends… ‘My work revolves around nature, wildlife, dreams, longing and observations, and is inspired by all that touches me personally – time and space, nature, friends, conversations, music and learning.’ Her illustrations of animals and wildlife are very unique and created in an almost storybook-like manner. We are bombarded with so much art that is inspired or pertaining to our society and the issues surrounding this; it’s an endless dialogue between the art and viewer. Sandra’s work takes the edge off and one can just merely look and ponder about the simple things in life.

image : wolfeyebrows.wordpress.com

image : wolfeyebrows.wordpress.com

Life Is What You Make It! It’s easy, in a way, to realize that you only have one shot at happiness – meaning this one life – and believe that being happy means creating your life in the best way that you can. It’s the best form of motivation. Bad things will happen, but they don’t happen to tear you down and make you stop – on the contrary. There are positives and learning to be drawn from anything. Reality only exists in your own mind, and in a way everything just depends on your perspective. Change your mind and change your heart.(Etsy Blog)

Words : Bianca Budricks

Sources: Etsy Blog, sandradieckmann.com, lostateminor.com

images:  chezbeeperbebe.com , sandradieckmann.blogspot.com, wolfeyebrows.wordpress.com

Mies, image: designapplause.com

Yesterday marked the 126^th birthday of the great German architect Ludwig Mies van der Rohe. Mies is most famously associated with his role in the establishing of what we now would refer to as modern architecture.
 

 
 
 
 
 
 
 
 
 
 
 
Mies first started off working at his father’s stone-carving shop, moving then to Berlin to work for Bruno Paul, the Art Nouveau architect and furniture designer. Kicking off his career, he began working as an apprentice at Peter Behrens, where he was exposed to progressive German culture and current design, both of which influenced him immensely. World War I left Europe in devastation and the need for change was almost tangible throughout. The art and literature scene boomed at this time as people were searching for new styles and ways to separate from the grim effects of the war. Architecture took on a more symbolic meaning with a political voice and undertone seeping through.

IBM Building, image: 2.bp.blogspot.com

The buildings and designs of the historical styles were now under siege; these ‘aristocratic classic style’ enterprises were now the symbol of a desecrated and passé social system. This gave way to visionaries – such as Mies and his colleagues – to create an entire new architectural design process through cogent problem solving and simple design expression, using modern materials to prevaricate the superficiality of the classical facades. Mies was a minimalist and saw no function in eclectic or cluttered styles of the former more-decadent eras. He found inspiration and clarity in the functionalist forms and wide open spaces with careful attention to the relationship between the man-made and the organic, calling his buildings ‘skin and bones’. The idea was to have minimal framework that is structured and balanced with free-flowing open spaces and with sliding doors that can either open up these spaces or shift the spaces as needed.

Mies, image: designapplause.com

Mies made his debut statement with the Friedrichstraße skyscraper, where he boldly abandoned all ornament with a dramatic modernist building almost entirely constructed of glass. He followed this with a loftier, more curved version in 1922 named the Glass Skyscraper. This first appearance from Mies as architect put him in the limelight as he started pioneering many projects. He joined a variety of societies and schools including progressive design magazine G, made director of Werkbund as well as the Director of Architecture of the Bauhaus School of Design. These are to name only but a few of his achievements throughout his career.

Farnsworth House, image: wallfox.net

 

The saga of Mies van der Rohe’s glass house in Plano, Illinois
 
Mies’ greatest work is the iconic Farnsworth House, which is the cornerstone of modernism and minimalism, embodying his vision of architecture as he saw it to an extent of almost transcending it. The house situated near the Fox River, Illinois, resembles a glass box completely transparent to the outside, without the everyday clutter and paraphernalia of traditional living as interior. The idea is to feel as if you are ‘one with the environment’, as if the building in its modern and linear appearance was simply only part of the setting, as if by ‘nature’ and not by ‘design’.

Mies' Chair, image: designapplause.com

Mies van der Rohe died on August 17, 1969. After cremation, his ashes were buried near Chicago’s other famous architects in Chicago’s Graceland Cemetery. His grave is marked by a simple black slab of granite and a large Honey Locust tree.  Commemorating his 126^th Birthday we can still see the influence and change Mies made upon architecture, modern and post-modern.  His buildings are not only revolutionary but also speak of change and progress; it is not in the elaborate that we find clarity but in the simplified. Once we have come to the simple nature of things, then we are able to make progress. In honour of Mies van der Rohe we wish you all a clutter-free day.

Mies and model of Seagram, image: designapplause.com

 
words: Bianca Budricks
images: designkultur.files.wordpress.com, designapplause.com, 2.bp.blogspot.com, tomsarchitecture.blogspot.com, wallfox.net, miesglasshouse.wordpress.com, YouTube