We always like to bring you info on artists that stand out from our point of view. Some are well established, others might be new and we offer them our support.  Check them out, go through their discography and who knows, you might find a favourite tune ;) This week we'd like to say a few words on Luke Vibert. So, for those of you who don't know the full and unexpurgated Luke Vibert story, it goes a little somethin' like this:

Luke Vibert was born and brought up in Cornwall. His dad was a crazy Jimi Hendrix fan and then got into punk. His mum preferred Yves Montand and the Beatles. He went to school. His favourite subject is unknown.

Young master Vibert started playing in various bands and basically making a bad noise - he puts the oddness of the 'Cornwall Skool' (contemporaries Aphex Twin and Tom Middleton/Global Communications) down to the fact that they were so far from any metropolitan style police that no one really cared what they made or how it sounded or what you called it.

Spurred on by the success of Aphex, Luke began to think about putting out some of his music. A new label called Rising High contacted Luke - they were looking for new ambient acts so Luke said he was making ambient music (he wasn't). Wagon Christ was born. Having convinced the label and many of the people buying his records that he was a new ambient guru, Wagon Christ continued to make sizzling, funky chunks of exotic business culminating in the masterful "Throbbing Pouch".

But by this time, he had also discovered the joys of name-changing. Rephlex released his Vibert-Simmonds project (weird and slightly droney collaborations with a man named Simmonds). Blue Planet released his drum 'n' bass numbers under the moniker Plug. Mo' Wax signed him up for an album under the most radical title yet: Luke Vibert.

Wagon Christ saw some major label action courtesy of Virgin, while Luke Vibert began a collaboration with renowned steel guitar player BJ Cole. And in between he pumped out a host of remixes for, amongst others, Nine Inch Nails, Squarepusher, Tortoise, Lamb, Stereolab and Mike Flowers Pops (oops).

Now, Wagon Christ has come to Ninja (incidentally, the place where he has already released some of his finest remixes and tunes). Other projects include producing an album for a US rapper and continuing live malarkeys with BJ Cole.

Discography

http://brainwashed.com/vibert

With techno luminary Ben Klock at the helm, it's safe to say Berghain 04 is one of Ostgut Ton's most important compilations yet. During the club's meteoric rise over the past eight years, Klock has played an essential role in defining what's now considered the Berghain sound: Dark, throbbing techno that's both subtle and aggressive. But his DJ style is also very much his own, and his extended Sunday afternoon sets remain one of the club's strongest attractions. And while Berghain 04 doesn't exactly simulate his club sound, it does sample his exceptional taste and technique—like a "business card," as Marcel Dettmann described his own edition in the series.

The mix shows Klock covering a lot of ground without straying too far from a techno framework—a skill that characterizes his club sets as well. Take the first three tracks: "Apricot" by 154, "Pressure" by DVS1 and Dettmann's remix of "Working" by Junior Boys. Each track offers something very different: emotional ambience, anxious techno and breathy pop vocals. Architecturally, though, all three songs are compatible—each slots neatly into the one before it. The same goes for Tyree's "Nuthin' Wrong," a longtime Klock favorite that appears near the end of the mix. At face value, it's something of a curveball: Early '90s house with goofy vocals, slipped between two lean and dubby techno tracks. But thanks to its rigid beat and determined bassline, the juxtaposition works perfectly.
Klock's finesse behind the decks can also be seen in the subtle give-and-take that occurs from track to track. Selections by Martyn, STL and Levon Vincent create a nervous vibe early on, but their clunky rhythms keep things boiling carefully. On Jonas Kopp's "Michigan Lake," the mix breaks into a run with a swifter, more linear driving rhythm, but the menacing overtone subsides. Klock briefly brings these two elements together on Mikhail Breen's "Veracity," which has both a pounding beat and a haunting melody, but then he inches back with DVS1's "Confused," which kicks equally hard yet is far breezier. This lets off a bit of steam, and also nicely foreshadows "Compression Session 1," a soaring, euphoric cut that shows off Klock's own production skill.
After all the talk about Dettmann and Klock as keepers of the Berghain sound, some listeners might find Berghain 04 anti-climactic. This isn't completely unfair; the mix distinctly lacks any individually explosive moments. This is in part due to format—the overwhelming, avalanche quality of Klock's peaks at Berghain simply don't translate to a home listening experience. But it's also a reflection of his DJ ethic, which is all about hypnotic grooves and gradual builds. The subtle progression is what makes the pay-off so rewarding. This style of DJing rarely gets documented well in mix CDs; Berghain 04 does so elegantly.

Tracklist: Ben Klock - Berghain 04
01. 154 - Apricot
02. DVS1 - Pressure
03. Junior Boys - Work (Marcel Dettmann Remix)
04. Martyn - Miniluv
05. STL - Loop 04
06. Levon Vincent - The Long Life
07. Jonas Kopp - Michigan Lake
08. ACT - RoHd
09. Mikhail Breen - Veracity
10. DVS1 - Confused
11. Rolando - De Cago
12. Kevin Gorman - 7am Stepper
13. Ben Klock - Compression Session 1
14. Roman Lindau - Keppra
15. Tyree - Nuthin Wrong
16. The Echologist - Dirt (Ben Klock Edit)
17. James Ruskin - Graphic
18. Ben Klock feat. Elif Bicer - Elfin Flight
19. Rolando - Junie

Available on Juno records

http://www.delia-derbyshire.org

Here's a look at the life and times of Delia Derbyshire, who set the standard for ground breaking electronic music at a time (1957) when she wasn't even really allowed in the studio. Delia Derbyshire was the woman who created one of the most familiar television title themes of the last 50 years. The music for the TV show Doctor Who has aged remarkably well, despite its constant play over the last 5 decades, largely due to its distinctly strong melody and rhythm section. Although her legacy lives on to this today, with the mood of the original version still felt in the latest offering of the piece, she was a hugely under-rated artist who never really saw the recognition she deserved. She was a true pioneer of electronic music who should be regarded with the same stature as the greats of electronic music, such as Henry, Schaeffer, Stockhauen, Kraftwerk and Moroder.
With links to a hugely diverse list of artists: Paul McCartney, Yoko Ono, Orbital and Pink Floyd, it is quite astonishing to discover that her career almost took an altogether different path when in 1957 Decca records refused her the opportunity to work in their studios as they regrettably informed her that they did not employ women!
Dissapointed, she immediately began working for the UN in Geneva but she returned to England very soon after to once again attempt to work around her true passion, music, with the music publishing company Boosey & Hawkes. Knowing of the existence of a department within the BBC called the Radiophonic Workshop, Delia was drawn to the corporation in 1960. At the time the BBC did not employ anyone within the workshop’s department for more than three months, as Derbyshire stated in a rare interview with Surface Magazine in May 2000, “They thought it would send people crazy”.

Three years after starting in her post with the BBC as trainee studio manager, her skills as an alchemist of sound were eventually identified and she was offered the opportunity to turn a melody written by composer Ron Grainer into something which could be used as the title music for a new TV show called Doctor Who.
When Derbyshire was to play the newly completed piece to the original composer of the melody he asked, “Did I really write this?” to which she responded “Most of it”. By today’s recording industry standards this would be referred to as Delia’s remix, and for it she would rightfully receive critical acclaim, but as this was 1963 and the concept of remixing was some decades away and as the BBC preferred to keep members of their Workshop anonymous and unaccredited, the BBC’s acknowledgement of Delia’s ground breaking work was somewhat minimal. Grainer believed Derbyshire should receive half the royalties for the work she had produced but this was not to be the case.
As this was a time before mass produced synthesizers many of her sources were far from typical. She famously sampled the sound of a green glass lampshade, taking away the attack of the percussive sound by fading in the recording and layering different filtered versions of the pre-recorded lamp shade sound to create a cacophony of sound and used as part of the sound design in a BBC program about people around the Sahara desert.

"My most beautiful sound at the time was a tatty green BBC lampshade," she asserts. "It was the wrong color, but it had a beautiful ringing sound to it. I hit the lampshade, recorded it and faded it up into the ringing part without the percussive start. I analyzed the sound into all of its partials and frequencies, took the 12 strongest and reconstructed the sound on the workshop's famous 12 oscillators to give a whooshing sound. So the camels rode off into the sunset with my voice in their hooves and a green lampshade on their backs."
Following Delia's death in 2001, there was an incredible find in her attic. A cache of 237 tapes including an experimental dance track on which her voice can clearly be heard, "this is for interest only". Upon hearing the recording Paul Hartnoll of Orbital found it to sound so contemporary he believed it could easily pass as a modern recording. He believed that it “could be coming out next week on Warp Records”. Manchester University is currently digitizing the tapes so they can be released to the public as an archive of her work. You can check BBC’s site and have a listen on these rare tunes and experimental tracks. It's worth the visit.
Clearly a visionary with an unparalleled original mind, Delia was the catalyst for many sound designers and composers of avant-garde music the world over. Her work is on the 2002 BBC compilation, The BBC Radiophonic Workshop CD.

Check out tonight at midnight Reuben Halsey's second show on ViaSound radio. "Into the light" is a weekly radio show dedicated to bring the very finest and most beautiful Chillout tracks the world has to offer, right to your ears.  Presented and delicately mixed by long established Chillout producer Reuben Halsey, this Thursday night show takes it's listeners on a 60 minute journey of chilled out serenity, letting you relax and wind down.

The show is diverse and not limited to one genre, featuring everything from chill-trance to Etherial Chillout to modern orchestral with a few surprises thrown in for good measure. Bringing you the freshest productions from undiscovered artists as well as old classics from as far back as when Chillout music was just finding its feet in the music industry.

Reuben Halsey is a talented producer and remixer from Northern Ireland, who has produced and remixed for some of the UK's leading and most established dance music artists, including Matt Darey, Lange and Headstrong. Coming from a Dance music background and after teaming up with local radio DJ "Danny D" to bring a string of commercial dance tracks to the airwaves, Reuben quickly found his true sound in the world of vocally focused chillout music. Read more on Reuben here

http://www.reubenhalsey.com
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