#soireerecordsinternational

[spy-in-the-house]

TEKNOBRAT aka THOMAS STEPIEN

[ COMMUNIQUE RECORDS | SOIREE RECORDS INT. | NUESTRO FUTURO | GEMINI WAX | PSYCHO THRILL REC. | MISSILE UK | HEMISPHERE | RESTRUCTURED | ASCEND REC. | VANGUARD PULSE Radio, Ottawa CAN ]

Brief bio of a DJ/Producer:  WTF IS TEKNOBRAT? Hailing from Montreal yet currently living in Ottawa, Thomas Stepien aka Teknobrat has been in the scene since 1987! His prior musical training includes having studied the trumpet and piano at the Musical Academy in Canterbury High School in Ottawa. And he has worked for 11 years at ABM Records in Ottawa, a dance music record shop selling all kinds of electronic discoteque music and with several European techno/house distributors such as INDISC, PIAS, PRIME, CYBER and KUBIK. At this time, Stepien had an ever-growing music library comprising of an astounding 5.000+ albums. The early Detroit Techno sounds are in his blood and soul as well as the early Chicago Acid House and Ghetto Trax sounds from the end of the 80's early 90's. A a DJ and recording Artis as well he can been seen weaving Techno, House, Electro, Minimal, Deep House, Detroit TechnoBass & UK/EU style Techno plus essential Underground Disco Classics at the leading and underground parties. Teknobrat recently also holds a DJ residency at Mercury Lounge one of the most mythic House Music venues of Canada's Nations Capital. In addition to playing these venues, he used to have his own Techno/House music radio show, LA TEKNOSPHERE RADIO SHOW on CHUO 89.1 FM, Ottawa, wich aired from Sept 1997 to February 2005. Also he was the main host of the legendary techno house music radio show, PLANET RAVE, aired on CKCU 93.1 FM Ottawa, from 1991 to 1997. Today he's still busy at Otztawa's VANGUARD PULSE radio. By the way, Stepien has been appearing worldwide as a serious producer of House, Acid and Techno tracks on labels such as Komatsu, Ascend, Hemisphere, Missile UK, Communique US, Soiree Rec.Int. and Psycho Thrill Recordings since 1997. And this journey is not over yet but continues tirelessly ...

without the past … there’s no phuture … these alltime top20 faves in no particular order

01 BLACK DEVIL [BERNARD FEVRE]: H Friend [ A1-track from "Disco Club" RCA PL-164 FRA LP | 1978 ] 02 RHYTHIM  IS RHYTHIM [DERRICK MAY]: It Is What It Is _ Juan's Majestic Mix [ A-side from "It Is What It Is" Transmat MS 6 US 12" | 1988 ] 03 JESSE SAUNDERS: On And On [ A-side from "On And On" Jes Say Records JS-9999 US 12" | 1984 ] 04 UNDERGROUND RESISTANCE: Jupiter Jazz [ A2-track from "World 2 World" Underground Resistance UR-020/ Submerge US 12" | 1992 ] 05 3 PHASE [SVEN RÖHRIG] feat. DR.MOTTE [MATTHIAS ROEINGH]: Der Klang Der Familie [ Transmat MS17/ Tresor US 12" | 1992 ] 06 LFO [GERRARD VARLEY, MARK BELL, MARTIN WILLIAMS]: LFO _ The Leeds Warehouse Mix [ A-side from "LFO" Warp Records WAP 5/ Outer Rhythm UK 12" | 1990 ] 07 PHUTURE [DJ PIERRE, EARL 'SPANKY' SMITH, HERBERT 'HERB J' JACKSON]: Acid Trax [ Trax Records TX-142 US 12" | 1987 ] 08 KEBEKELEKTRIK [PAT DESERIO & GINO SOCCIO]: Magic Fly [ A1-track from "Kebekelektrik" Les Disques Direction Records DLP-10005 CAN 12"/LP | 1977 ] 09 GIORGIO MORODER: The Chase [ Casablanca NBD-0146 US 12", single sided Pitman Pressing | 1978 ] 10 DREAMER G [J.GORDON]: I’ve Got That Feeling [ Madhouse Records, Inc. KCT-1001 UK 12" | 1992 ] 11 DONNA SUMMER: I Feel Love _ Patrick Cowley MegaMix & Edit [ Casablanca FEEL-12 US 12" | 1982 ] 12 [MARC] CERRONE: Supernature [ A-side from "Supernature/ Give Me Love" Atlantic K-11089 UK 12" | 1982 ] 13 PLASTIKMAN [RICHIE HAWTIN]: Sheet One [ Plus 8 Records PLUS8028/ Intellinet 2x12" | 1993 ] 14 M.F.A. [JÖRG BURGER, WOLFGANG VOIGT, CEM ORAL]: Music For Assholes on Blue [ Blue BLUE-001/ Blue German Electronic Foundation GER 2x12" | 1992 ] 15 X-102 [JEFF MILLS, MIKE BANKS, ROBERT HOOD]: Discovers The Rings Of Saturn on Tresor [ Tresor ‎4 GER 2x12" | 1992 ] 16 NEIL LANDSTRUMM: Brown By August [ Peacefrog Records PF-040 UK 2x12" | 1995 ] 17 CHOICE [LAURENT GARNIER & DIDIER DELESALLE]: Acid Eiffel [ A-side from "Paris EP" Fnac Music Dance Division 590155 FRA 12" | 1993 ] 18 DAPHNE ORAM: Oramics on Young Americans [ Young Americans YoungAm-001 RE UK 4x12"/ Album | 2013 ] 19 KRAFTWERK [FLORIAN SCHNEIDER, EMIL SCHULT, RALF HÜTTER, WOLFGANG FLÜR ]: Trans Europa Express [ Kling Klang 1C-064-82-306/ EMI GER LP/Album | 1977 ] 20 LIL'LOUIS & THE WORLD [MARVIN LOUIS BURNS]: Blackout [ FFRR LILLP-1 UK Promo-12" | 1989 ] #teknobrat #bookmarks: FACEBOOK | ARTIST | INSTAGRAM | DISCOGS | SOUNDCLOUD MIXCLOUD | VANGUARD PULSE | YOUTUBE | TWITTER BUBBLE WERKS EP | DEFCON ALERT EP

[ottottorecords]

Lockstep - Lockstep EP Repress Soiree Records International SRT-107 A1:CeSoir A2:Sensuasm B1:Heatsync B2:I Am format:12’ condition:vg+ #lockstep #lockstepep #soireerecordsinternational #drivetrain #techno #housemusic https://ottottorecords.stores.jp/items/5d8cb0c5745e6c6163998193 https://www.instagram.com/p/B23-70BnYqH/?igshid=1f3d17ear470i

[detroitpromotv]

@deltrevor #soireerecordsinternational www.detroitpromotv.com

[thnktronix]

#soireerecordsinternational #frozennorth #respecg #house #techno

[spy-in-the-house]

J.GARCIA aka JASON GARCIA

[ Cryovac Recordings | Soiree Records International | House Gallery Detroit | Hej Records | MotorCity Wine, Detroit USA ]

without the past … there’s no phuture … “These are my favorite tracks in no alphabetical order that have stood the rest of time for me.” —–J.Garcia

01 KRAFTWERK [RALF HÜTTER, FLORIAN, SCHNEIDER, KARL BARTOS]: Tour De France [ Warner Bros. Records 0-20146 US 12” | 1983 ] 02 CYBOTRON [RICHARD DAVIS/ 3070 & JUAN ATKINS]: Clear [ A-side from “Clear / Industrial Lies” Fantasy D-216 US 12" | 1983 ] 03 ADONIS [ADONIS SMITH]: No Way Back [ Trax Records TX112 US 12” | 1986 ] 04 ELECTRIC SOUL [MIKE BANKS]: X² [ Direct Beat DB4W-015 / 430 West US 12" | 1996 ] 05 AUX 88 [KEITH TUCKER, TOMMY HAMILTON, WILLIAM 'BJ' SMITH]: Direct Drive [ A-side from “Direct Drive/Aux Express/ Bytes 1-4” Direct Beat DB4W-013 US 12” | 1995 ] 06 GREEN VELVET [CURTIS ALAN JONES]: Preacherman [ A-side from “Velvet Tracks” Relief Records RR701 US 12” | 1993 ] 07 FLOORPLAN [ROBERT HOOD]: Drive [ B-side from “Envy / Drive” Drama DRA-004 / M-Plant US 12” | 1998 ] 08 ARIL BRIKHA: Groove La'Chord [ A-side from “Art Of Vengeance EP” Fragile Records FRG-17 / Transmat US 12” | 1998 ] 09 GALAXY TO GALAXY: Timeline [ Track 2.5 from “UR Presents Galaxy 2 Galaxy  - A Hitech Jazz Compilation” Underground Resistance SUBJPCD-004 / Submerge US 2xCD/ Compilation-Digipak | 2005 ] 10 JOEY BELTRAM: Energy Flash [ A-side from “Energy Flash/Psycho Bass” Transmat MS-16 US 12” | 1990 ] 11 BRYAN ZENTZ: D Clash [ Intec Records INTEC-019 UK 12” | 2003 ] 12 JEFF MILLS: The Bells [ A1-track from “Kat Moda EP” Purpose Maker PM-002 / AXIS Records US 12" | 1997 ] 13 GARY MARTIN: Casa Cougat [ B-side from “Casa Caugat (2001 Remix)” KMS-077 US 12” | 2001 ] 14 STREETLIFE ORIGINALS: Lara’s Theme [ Paper Recordings PAP 022 UK 12” | 1998 ] 15 FINGERS INC feat. CHUCK ROGERS: Can You Feel It [ A-side from “Can U Feel It/My House (Acappella)” Desire Records WANTX 6 UK 12” | 1988 ] 16 PLASTIKMAN [RICHIE HAWTIN]: Are Friends Elektrik? [ C-side from “Artifakts (BC)” M_nus - minus 3lp / Plus8 CAN 3x12” | 1998 ] 17 MIKE GRANT: The Struggle Of My People _ Mr. G’s There’s Hope Mix [ B-side from “And Then It Was My Turn …” Moods & Grooves MG-011 / Big50 Entertainment US 12" | 2001 ] 18 RHYTHM PLATE [ANT PLATE & MATT RHYTHM]: Miles Between Us [ B1-track from “Masters At Wirksworth” DiY Discs DiY-036 UK 12” | 1999 ] 19 SEVEN GRAND HOUSING AUTHORITY [TERRENCE PARKER]: Loves Got Me High [ Intangible Records & Soundworks INT-510 US 12” | 1995 ] 20 RON HALL & THE MUTHAFUNKAZ feat. MARC EVANS: The Way U Love Me [ Hustle Music HUSTLE 003 UK 12” | 2005 ]

#jasongarcia bookmarks:

JASON GARCIA  |   FACEBOOK  |   SOUNDCLOUD  |   HOUSE GALLERY HEJ RECORDS    |   SOIREE RECORDS INT.  |   CRYOVAC RECORDINGS ONE DAY | I GOT PEOPLE  |  LOST  |  ASK YO SELF | WHAT’S A STAKE

SPYINTHEHOUSE UTR 037_podcast [ now online! ]

[spy-in-the-house]

BLACK JACK aka JOHN MORRISON

[ "Submorphosis / Mr. Man" | Soiree Rec. Int. | Fathom Records  | Scenic Music| RF Music | Psycho Thrill Rec. | BangTech12 | Xenology, Aberdeen UK ] Black Jack, better known by his DJ pseudonym Mr. Man and also under the dub step genre as Submorphosis, has been in and around the dance music scene since 1996. His influences came from Detroit, citing Juan Atkins, Rhythm is Rhythm, Eddie Flashin Fowlkes and Jeff Mills as creators of his electronic techno style. A regular at Scotland’s finest club nights Pure, Slam, Test, Pussypower, Syntax and Subculture, these nights became pivotal points in his early days as DJ, opening the flood gates to an abundance of top acts from around the globe. Fast forward to September 2009 and Black Jack had his first transatlantic vinyl release on Derrick Thompson’s label Soiree Records International in Detroit. In LA he also had releases out on Lucas Rodenbush‘s label Scenic Music and again in Detroit, an E.P. out on Dwayne Jensen‘s (r.i.p.) label Fathom Records. Beside this he started releasing on Vancouver based RF Music, run by Rennie Foster, with a track on the Entrowerk compilation. On his home ground, he released on Murge Recordings and Rhythmic Science (alongside Mark Archer, Derek Carr and Mark Ambrose), with more releases due out on Feelharmonic Records and classic rave/bleep label - Ozone Recordings. Finally he started his own imprint, Xenology Records, with co-owner and DJ partner Jace Syntax, which focuses on futuristic house and techno. His tracks have been remixed by Drivetrain, Pure Science, Atesh K, Aubrey, Hughes Gibouley, Lucas Rodenbush – E.B.E., Dave-G, 2lite, Thomas Barnett, Jules Wells, Jace Syntax, Jacksonville, Jay Tripwire, Cloudmaster Weed and Sean Deason. Alongside his own productions Black Jack's DJ career has seen him play in the best underground clubs in Scotland, including the Pelican, Soundhaus, Club 69, Glasgow School of Art, and Carlton Studios, along with other international gigs. He has been a resident at club nights Syntax, Bang Tech 12, Pigeon Project, Meautronix, Science Friction and Funion and has played alongside Blake Baxter, Richard Grey, Nathan Coles, Laid Back Luke, Funk D’void, Pure Science, Tama Sumo, Thomas Barnett, Claus Bachor, Tim Baker, Deepak Sharma, HD Substance, Detroit Techno Militia and Derrick Thompson, to name but a few. At last but not least Black Jack describes his own unique style as a mixture of tribal acid house and techno, with soul and atmosphere. without the past … there’s no phuture … these alltime top20-faves in no particular order

01 MODEL 500 [JUAN ATKINS]: Deep Space [ R&S Records RS-95066 BEL 2x12" Album| 1995 ] 02 IT’s THINKING [DIRK-JAN HANEGRAAFF, GERT-JAN BIJL, MARK RRIPMEESTER]:  Afterglow [ Malego Records MAL-002/ Plus8/ Intellinet CAN 12" | 1992 ] 03 A.Z.T. [DAVID PICCIONI]: This Is The Choice Of A New Generation [ Azuli Records AZ-004 UK ss-WL-12" | 1990 ] 04 RHYTHM IS RHYTHM [DERRICK MAY]:  It Is What It Is [ Transmat MS-6 US 12" | 1988 ] 05 UNDERGROUND RESISTANCE: Sometimes I Feel Like [ A2-track from “Nation 2 Nation” Underground Resistance UR-005/ Submerge US 12" | 1991 ] 06 CJ BOLLAND [CHRISTIAN JAY BOLLAND]: Carmague [ D1-track from “The 4th Sign” R&S Records RS-92024 BEL 2x12" | 1992 ] 07 ORBITAL [PAUL & PHIL HARTNOLL]: The Girl With The Sun In Her Head [ A-side from “In Sides” Internal TRULP-010 UK 3x12" | 1996 ] 08 SONIC YOUTH [THURSTON MOORE, LEE RANALDO, KIM GORDON, RICHARD EDSON]: Goo [ DGC-7599-24297-1 EU ltd.ed. Album + 7" | 1990 ] 09 FAITH NO MORE [CHUCK MOSLEY, RODDY BOTTUM, BILLY GOULD, MIKE BORDIN, JIM MARTIN]: From Out Of Nowhere [ A-side from “From Out Of Nowhere” Slash LASHX-19/ London Records UK 12" | 1989 ] 10 THE PRODIGY [LIAM HOWLETT, KEITH FLINT, MAXIM, LEEROY THORNHILL ]: Everybody In The Place [ XL Recordings XLT-026 UK 12" | 1992 ] 11 STEELY DAN [DAVID PALMER, DENNY DIAS, DONALD FAGEN, JEFF BAXTER, JIM HODDER, WALTER BECKER ]:  Rikky Don’t Lose That Number [ A1-song from “Pretzel Logic” ABC Records ABCD-808 Album | 1974 ] 12 NEIL YOUNG: Old Man [ B1-song from “Harvest” Reprise Records MS-2032 US Album | 1972 ] 13 PINK FLOYD [DAVID GILMOUR, NICK MASON, RICHARD WRIGHT, ROGER WATERS, SYD BARRETT]: Shine On You Crazy Diamond (1-2) [ A1/2-song(s) from “Wish You Were Here” Harvest SHVL-814 UK Album | 1975 ] 14 FUGAZI [BRENDAN CANTY, COLIN SEARS, GUY PICCIOTTO, IAN MACKAYE, JOE LALLY]: Waiting Room [ A1-song from “Fugazi” Dischord Records DISCHORD-030 US 12" | 1988 ] 15 DRIVETRAIN [DERRICK THOMPSON]: Symphonium [ Soiree Records International SRT-108 US 12" | 1993 ] 16 JACE SYNTAX: Where Ever You Are [ Sula Muse Recordings SULAMUSE-010 wav/mp3 file | 2008 ] 17 KOSMIK MESSENGER [STACEY PULLEN]: Full Moon [ A2-track from “The Collected Works Of Kosmic Messenger” Elypsia ELY-015 LP BEL 2x12" | 1997 ] 18 SILICON SCALLY [CARL FINLOW]: Entron [ B2-track from “Mr.Machine” SCSI-AV ID-009 UK 2x12" | 2002] 19 HÜSKER DÜ [BOB MOULD, GRANT HART, GREG NORTON]: Diane [ B2-song from “Metal Circus” SST Records SST-020/ Reflex Records US Album | 1983 ] 20 GREEN RIVER [ALEX SHUMWAY, ALEX VINCENT, BRUCE FAIRWEATHER, JEFF AMENT, MARK ARM, MARK McLAUGHLIN, STEVE TURNER, STONE GOSSARD]: This Town [ B1-track from “Dry As A Bone” Sub Pop SP-011 US 12" | 1987 ] #bookmarks BLACK JACK  ll  JOHN MORRISON  ll  SUBMORPHOSIS  ll  YOUTUBE FACEBOOK  ll   XENOLOGY RECORDS  ll  SOUNDCLOUD

[spy-in-the-house]

DRIVETRAIN aka DERRICK THOMPSON

[ 'GOD OF THE MACHINE' l SOIREE Rec. Int. l XPlor Music l Moods & Grooves l Psycho Thrill Rec. l Specimen l PlinkPlonk UK, Detroit USA ] story:   THE PHANTOM OF THE CLUB-SCENE IS STILL ALIVE! BUT HIS EXISTENCE IS NOT AN EASY ONE!! AND HIS CASE IS CERTAINLY NOT ONE-OFF!!! PRECISELY THOSE WHO HAIL FROM DETROIT AND HAPPEN TO BE TECHNO-ARTISTS, DO NOT HAVE AN EASY LIFE. IN MATTERS OF LISTENING HABITS, FOR MANY YEARS NOW PLAYERS SUCH AS JUAN ATKINS, KEVIN SAUNDERSON UND DERRICK MAY COULD NOT HAVE SERVED THE SCENE BETTER.  BUT THE INTEREST OF THE MEDIA HAS FOR SOME TIME NOW BEEN FOCUSED ON THE “USUAL SUSPECTS” SUCH AS JEFF MILLS, THOSE MENTIONED IN PASSING NOW AND THEN RANGE FROM ROBERT “DR. KIMBLE” HOOD AND CARL CRAIG TO THEO PARRISH OR OMAR-S. THE POSSESSION OF A GLORIOUS TRADITION OF HOUSE AND TECHNO MAY BE FOR SOMEONE LIKE DERRICK THOMPSON AT THE SAME TIME A BLESSING AND A CURSE. read more … … without the past … there’s no phuture …

this alltime_top20 [ in no particular order! ]

01 ANGELA BOFILL: Under The Moon And Over The Sky [ A1-song from "Angie" GRP-99801 US LP | 1978 ] 02 GINO SOCCIO: Dancer | Try It Out [ Warner Bros.8757 / Atlantic DMD 269 US 12"s | 1979/1981 ] 03 D-TRAIN: You're The One [ Prelude D621 US 12" | 1981 ] 04 STEVIE WONDER: Rocket Love [ Tamla 1612TF / Motown US 7" | 1982 ] 05 TELEX: Moscow Disco [ Sire Records DSR8896 US 12" | 1979 ] 06 NICK STRAKER BAND: Just A Little Bit Of Jazz [ Prelude D612 US 12" | 1981 ] 07 JIMMY SMITH: Sit On It! [ Mercury ‎SRM-1-1127 US LP | 1977 ] 08 STANLEY CLARK: School Days [ Embassy 31892 US LP | 1976 ] 09 NATALIE COLE: La Costa [ Capitol 4509 US 7" | 1977 ] 10 BROTHERS JOHNSON: Stomp [ A&M Records 17111 US Promo-12" Ed. | 1980 ] 11 CERRONE: Supernature [ Atlantic 898277 US 12" | 1977 ] 12 GEORGE DUKE: Brazilian Love Affair [ Epic FE 36483 US LP | 1980 ] 13 MASSIVE ATTACK: Teardrop [ Virgin 7087-6-13139-1-8 US Promo-12" | 1998 ] 14 CHOICE [DIDIER DeLESALLE, LAURENT GARNIER, LUDOVIC NAVARRE]: Acid Eiffel [ A-side from Fragile Records ‎FRG-6 / Transmat US 12" | 1993 ] 15 BEBEL GILBERTO: All Around [ EastWest EW-294T UK 12" | 2004 ] 16 PINK FLOYD: Dark Side Of The Moon [ Harvest ‎SMAS-11163 US LP | 1973 ] 17 MOODYMAN [KENNY DIXON JR.]: I Can't Kick This Feelin When It Hits [ B-side from KDJ 006 US 12" | 1996 ] 18 RONNIE LAWS: Fever [ Blue Note BN-LA628-G US LP | 1976 ] 19 BARRY WHITE: All Because Of You [ Song from “Just Another Way To Say I Love You” 20th Century T-466 US LP | 1975 ] 20 DRIVETRAIN: Desert Sky (Remixes) [ Soiree Records International SRT-142 US 12" | 2006 ] bookmarks: FACEBOOK  ll  DISCOGS  ll  INSTAGRAM  ll  SOIREE REC.INT.  ll  RA XPLOR MUSIC  ll  SOUNDCLOUD  ll  MIXCLOUD  ll  YOUTUBE

[spy-in-the-house]

DERRICK THOMPSON Take the D[rive]-Train

THE PHANTOM OF THE CLUB-SCENE IS STILL ALIVE! BUT HIS EXISTENCE IS NOT AN EASY ONE!! AND HIS CASE IS CERTAINLY NOT ONE-OFF!!! PRECISELY THOSE WHO HAIL FROM DETROIT AND HAPPEN TO BE TECHNO-ARTISTS, DO NOT HAVE AN EASY LIFE. IN MATTERS OF LISTENING HABITS, FOR MANY YEARS NOW PLAYERS SUCH AS JUAN ATKINS, KEVIN SAUNDERSON UND DERRICK MAY COULD NOT HAVE SERVED THE SCENE BETTER.  BUT THE INTEREST OF THE MEDIA HAS FOR SOME TIME NOW BEEN FOCUSED ON THE "USUAL SUSPECTS" SUCH AS JEFF MILLS, THOSE MENTIONED IN PASSING NOW AND THEN RANGE FROM ROBERT "DR. KIMBLE" HOOD AND CARL CRAIG TO THEO PARRISH OR OMAR-S. THE POSSESSION OF A GLORIOUS TRADITION OF HOUSE AND TECHNO MAY BE FOR SOMEONE LIKE DERRICK THOMPSON AT THE SAME TIME A BLESSING AND A CURSE. DAS PHANTOM DER CLUB-SZENE LEBT! DOCH SEIN LEBEN IST KEIN LEICHTES!! UND SEIN FALL IST MIT SICHERHEIT KEIN EINZELFALL!!! GERADE, WENN MAN AUS DETROIT KOMMT UND TECHNO-ARTIST ST, HAT MAN ES NICHT LEICHT DAMIT. DER BODEN IST ZWAR IN PUNCTO HÖHRGEWOHNHEITEN SCHON SEIT JAHREN DURCH PROTAGONISTEN WIE JUAN ATKINS, KEVIN SAUNDERSON UND DERRICK MAY U.A. ZUR GENÜGE BESTELLT WORDEN. DOCH DAS MEDIALE INTERESSE SCHEINT SICH AUCH HEUTE NOCH MEIST NUR AUF DIE ÜBLICHEN VERDÄCHTIGEN VON JEFF MILLS ANGEFANGEN, MIT ZWISCHENSPIEL VON ROBERT `DR. KIMBLE´HOOD, ÜBER CARL CRAIG, BIS ZU THEO PARRISH UND OMAR S. ZU RICHTEN. EINE GLORREICHE HOUSE- UND TECHNO HISTORIE ZU HABEN, KANN DA ALSO AUCH FÜR JEMANDEN WIE DERRICK THOMPSON SEGEN UND FLUCH ZUGLEICH SEIN.

engl. text: Thompson excels not only with relevant instruments but also has developed considerable talents with buttons and controls; as a result in the long-term the danger of being overshadowed and even eclipsed does not constitute a significant problem for a genuine artist of his calibre. And definitely not for somebody who defines House and Techno in such a way that he is not frightened of coming into contact with any kind of music at all. Within the resulting unlimited framework, abundance and richness of culture means here to be able firstly in one's programming inner eye to recall the entire Detroit automobile and music history going back even to the heydays of Motown; secondly let it whiz and whoosh past without allowing the resulting musical fare to be in denial of one's own electronic roots. german text: Aber auf Dauer sollte dies für einen Künstler, der sowohl mit entsprechenden Instrumenten wie mit erheblichen Knob-Skillz ausgestattet ist, kein besonderes Problem sein. Erst recht nicht, wenn man für sich einen eigenen House- wie auch Technobegriff definiert hat, der keinerlei Berührungsängste zu kennen scheint. Opulenz innerhalb der Konsequenz bedeutet hier vor dem geistigen Programmier-Auge die gesamte Detroiter Motoren und Musik-Historie von Motown-Zeiten an sich vorbeizischen zu lassen, aber als Endergebnis nie seine elektronischen Wurzeln zu verleugnen. 

... only a one man band!

"Just as Sly Stone sang so very finely in the flowery 1960s: `Don´t call me nigger, Whitey! Don´t call me whitey, Nigger!´ First of all colour mean nothing to me in the Music Biz in every respect." As a result of coming from Detroit only music is important for D-Boy Thompson which means mostly Soul, Funk, Jazz and Rock in contrast to "Shit happens!" i.e. soulless tracks that really do not have or deserve a single soulmate on the Earth. Some of the tracks which both swing and massage the soul are those promised for release this Autumn such as, "Feel This Deep / Tam-Tam" (in cooperation with the legendary Detroit percussionist Jerry The Cat, Soiree 141 US 12"), "One Wish Wonder" (CD / 12", Soul Star Ital 12"),  the current album, "The Deepest Harmony Of Drivetrain" (Soiree CD 141), as well as the re-release of his pseudonym's Lockstep's "Heatsync Prt. 1 & 2 / I Am" (Psycho Thrill ltd ed. 2108 D 12"). Minimal Nation remains here a command to party which has to be taken seriously! So these Techno tracks provide pumping rhythms or on the other hand a finely oscillating Electro number whose modulations are always accurately dosed while at the same time breathing sufficient soul between the beats. Or significantly deep but still soulful House tracks à la classical Detroit School somewhere between but also beyond Theo Parrish, Scott Grooves and Mike Grant, with whom Thompson is also connected on the basis of output produced for MoodsAndGrooves. And that even in the year 2017 in the Detroit Machine Park, the distance to Smokey Robinson (and The Miracles') classic "Love Machine" is not all too far does not have to be underlined. With these pulsating rhythms not only dancing bodies start to move wherever they are, but the computer modules in people's own recording studios can learn something important. "Wie sang Sly Stone doch so schön in den blumigen 60-ern: `Don´t call me nigger, Whitey! Don´t call me whitey, Nigger!´ Farben zählen für mich im Musikbizz in jeder Hinsicht erst mal gar nichts!" Für Mister 'D Thompson gibt es daher auch nur gute Musik, die zumeist aus Soul, Funk, Jazz und Rock gespeist wird oder eben, "shit happens": Seeelenlose Tracks, die wirklich kein Erdenbruder braucht. Zeitlose, Tanzflur rockende wie auch die Seele massierende Beweise dafür liefern seine konstant nachgefragten Produktionen "Feel This Deep / Tam-Tam" [Kooperation mit der Detroiter Percussionisten Legende Jerry The Cat, Soiree 141 US 12"], "One Wish Wonder" [CD / 12", SoulStar Ital 12"], sein Album "The Deepest Harmony Of Drivetrain" [Soiree CD 141], sowie der Repress seines Lockstep AlterEgos "Heatsync Prt. 1 & 2 / I Am" [Psycho Thrill ltd ed. 2108 D 12"]: Minimal Nation bleibt hier ein ernstzunehmendes Partykommando! Energetisch treibende Technotracks also oder aber auch eine fein oszillierende Electro-Nummer, die immer wohldosiert moduliert ist, zwischen den Beats aber auch genug Seele atmet. Oder signifikant deepe, soulige Housetracks klassischer Detroiter Schule, irgendwo neben aber auch vorbei an Theo Parrish, Scott Grooves, Mike Grant und Patrice Scott, mit denen Thompson zusätzlich so manche Zusammenarbeit verbindet. Und dass im Detroiter Maschinenpark auch noch im Jahre 2017 der Weg zu Smokey Robinsons [and The Miracles] "Lovemachine" nie allzu weit ist, muss wohl nicht extra betont werden. Bei diesen pulsierenden Rhythmen kommen nicht nur tanzende Körper wo auch immer in Bewegung, sondern sind auch die Computer-Module im heimischen Tonstudio mit gutem Beispiel vorangegangen.

DRIVETRAIN, is the pseudonym most often used by Derrick Thompson, in whose veins the blood of First Nation ethnicity [means here the Chippewa tribe > The term "First Nation" is most commonly used now instead of Native American Indian  ] flows  just as do that of black and white ancestors [ for the Chippewas see also “Native Americans” ] ; he is without a doubt good enough to step out of the shadow of other Detroit heroes. Because it seems that since his childhood he has been involved in a marriage with everything associated with music. His family often celebrated parties, and as a young boy he would listen to his uncle Tom singing and playing the guitar. Nowadays looking back at those festivities, he sees them as sparking his lifelong love affair with a world of sounds and tones that has neither ceased to fascinate him nor loosened its grip on him. Consequently his music career had already formally begun at the tender age of eight years at the point when Derrick commenced his first lesson in playing drums. He was enthused by the fact that he could make music simply by beating on various percussion instruments without continually having to put up with what the teacher wanted to load him; Derrick began his quest to strive for more [ "The road of excess leads to the place of wisdom" William Blake ]. At the age of 13, he was at last given his first bass guitar. He spent countless hours, days and nights trying to perfect his guitar-playing; in the spirit of the Electrifying Mojo he wanted to get closer and closer to his guitar idols from the seemingly inexhaustible soul, funk, disco and jazz catalogue: Stanley Clarke, Louis Johnson, Ronnie Laws, Jimmy Smith, George Duke, Gino Soccio, Cerrone und Marcus Miller. When he was 16 he took the next step and joined a jazz band as bass player. After two further years, the time seemed right to move onto another instrument: he bought himself a Stratocaster guitar. And a short time later, he found himself on the stage as a member of various local rock bands. At the same time, the so-called Belleville Three Atkins, Saunderson and May were defining Detroit Techno for the first time, and Thompson was discovering - with ever-increasing gusto - the option Electronic music. DRIVETRAIN, so das der Szene geläufigste Alias von Derrick Thompson, in dessen Adern das Blut indianischer Vorfahren vom Stamme der Chippewa ebenso wie das von schwarzen und weißen fließt, ist schließlich gut genug, um aus dem Schatten anderer D-Helden heraus zu steppen. Denn anscheinend hatte er schon seit seiner Kindheit eine Ehe, mit allem was mit Musik zusammenhing, geschlossen. Als er bei einer Familienfeier als kleiner Junge seinen Onkel singen und Gitarre spielen hörte, verliebte er sich Kraft heutiger Aussage sofort in diese ihn bis heute faszinierende Welt aus Sounds und Klängen und ist bis dato wohl auch nicht wieder davon losgekommen. Seine Musikerkarriere begann so schon folgerichtig im eher zarten Alter von 8 Jahren, als Derrick in der Grundschule Schlagzeugunterricht erhielt. Begeistert von der Tatsache, dass er durch Schläge auf diverse Drum-Instrumente auf einmal in der Lage war Musik zu erzeugen, ohne ständig vom Lehrer belästigt zu werden, war für ihn Wert genug auf Dauer nach einem direkten Mehr davon zu streben. Mit 13 Jahren bekam er endlich seine erste Bass-Gitarre geschenkt. Unzählige Stunden, Tage und Nächte verbrachte er schließlich damit, sein Gitarrenspiel zu vervollkommnen und sich der Profession seiner größten Vorbilder aus dem schier unerschöpflichen Soul-Funk-Disco&Jazz-Katalog, ganz im Geiste eines Electrifying Mojo, nach und nach immer mehr anzunähern: Stanley Clarke, Louis Johnson, Ronnie Laws, Jimmy Smith, George Duke, Gino Soccio, Cerrone und Marcus Miller. Als er 16 Jahre alt war, begann er schließlich in einer örtlichen Jazz Band Bass zu spielen. Nach zwei weiteren Jahren war es für ihn dann an der Zeit, auf ein anderes Instrument umzusteigen und so kaufte er sich eine Stratocaster-Gitarre. Und kurze Zeit später, 1986, fand er sich dadurch bedingt selbst auf der Bühne diverser lokaler Rock Bands wieder. Zeitgleich aber definierten die sog. „Belleville Three“ Atkins, Anderson und May erstmalig auch das Detroit Techno-Thema und Thompson begann in diesem Zusammenhang immer mehr Interesse an den Optionen elektronischer Musik zu entwickeln ...

Freak of the week: young, gifted and independent!

Not only Submerge and Mike Banks but also 7th City and Dan Bell were deaf to Derrick´s conception - which he had by then developed - of not subordinating himself to other labels´ configurations and managements, and at the most working towards some form of  cooperation. Nevertheless he did not allow himself to be deflected from his vision which entailed for him not becoming involved in long-winded debates about this or that musical direction. At the end of the 1980s, he spontaneously purchased electronic music equipment of his own consisting of synthesizers, samplers and studio recording hardware; shortly afterwards he added turntables plus the inevitable mixer, and began working in Detroit as a DJ with ever-increasing  success. Around this time he favoured hanging out in SUBMERGE Store, RECORD TIME and MEMORIES & MELODIES, and matters began to develop a momentum and dynamism of their own: parallel to his training as a computer programmer and various support-jobs as a truck-driver, Thompson set up his own record label, Soiree Records in 1992. At first he could only establish himself in narrow niches which his more established colleagues left over for others. At first the tracks from Soiree could only vaguely be defined as House or Techno, but after his tenth offering in this imprint the focus was ever more clearly on Deepness and Disco Roots in a House context. Mit seiner Vorstellung allerdings, sich in puncto Label-Konfiguration und Management nicht anderen Labels unterordnen zu müssen und lediglich auf Kooperationen hinzuarbeiten, stieß er anfänglich sowohl bei Submerge und Mike Banks wie auch bei 7th City und Dan Bell auf taube Ohren. Dennoch ließ er sich nicht von seiner Linie abbringen, die für ihn gleichfalls bedeutete, nicht immer mit anderen Musikern langatmige Debatten über Musikrichtung, Stil oder andere Belange führen zu müssen. So kaufte er sich Ende der 80er kurzentschlossen sein eigenes elektronisches Musik-Equipment aus Synthesizern, Samplern und Studio-Recording-Hardware. Außerdem erwarb er sich sein erstes Paar Turntables und den dazugehörigen Mixer und begann als DJ auf diversen Parties in Detroit immer erfolgreicher aufzulegen. Der SUBMERGE Store, RECORD TIME und MEMORIES & MELODIES gehörten nun zu seinen häufig frequentierten Aufenthaltsorten und fast von selbst begannen die Dinge eine Eigendynamik zu entwickeln: Neben einer Ausbildung zum Computer-Programmierer und diversen Support-Jobs als LKW-Fahrer etablierte Thompson seit 1992 sein eigenes Label Soiree Records Int. immer mehr in der eingangs engen Nische, die ihm die etablierten Kollegen noch ließen. Waren die Tracks von Soiree anfänglich erst schwer eindeutig im Sinne von House oder Techno zu definieren, erfolgte ab der zehnten Veröffentlichung die Fokussierung dieses Imprints vorwiegend auf Deepness und Disco-Roots im House-Kontext.

In the following years Thompson widened his own horizons through diverse pressings on European labels such as Plink Plonk, Basic Beat, The End, Contraband, Slip-N-Slide, Psycho Thrill, Authentic Music or Ausfahrt. At the same time the demand for his productions grew, and pressure built up to invite the sympathetic and modest Detroiter, Mr Soiree Records, to work as a DJ; due to his abilities in maintaining both House and Techno vibes at a high level on the turntables, he was soon staring at gigs al over Europe. While the demand for tracks of this sort sank rapidly in the USA after 1995, in Europe it grew, and so he continued to be directly confronted by Techno World. He decided henceforth likewise to concentrate on his other preference in electronic music that is for harder and more abstract beats. As a result in 1997 X-PLor Music was for the first time launched on the market as a purely Techno label, and opened up for the ever-growing community of fans in Europe and elsewhere a surprisingly large potential within the context for refreshingly varying styles - but always pumping  techno tracks. In den folgenden Jahren erweitete Thompson schließlich seinen Horizont durch diverse Veröffentlichungen auf europäischen Labels wie Plink Plonk, Basic Beat, The End, Contraband, Slip-N-Slide, Psycho Thrill, Authentic Music oder Ausfahrt. Gleichzeitig setzte eine verstärkte Nachfrage ein, Mr. Soiree Records auch als DJ nach Europa zu holen, was dem sympathisch bescheidenen Detroiter, der im übrigen Techno wie House auf hohem Niveau zu drehen versteht, seitdem immer wieder etliche Gigs 'all over europe' bescherte. Hier wurde er auch wieder, während die Nachfrage nach Tracks dieser Sorte in den USA seit '95 rapide sank, wesentlich stärker erneut mit Techno World konfrontiert. Er beschloss sich fortan ebenfalls mit Schwerpunkt auf seine andere elektronische Musikvorliebe für härtere, abstraktere Beats zu konzentrieren. So wurde 1997 X-Plor Music erstmalig als reines Techno Imprint plaziert und offenbart der mittlerweile immer größer werdenden Drivetrain-Fan-Gemeinde nicht nur in Europa ein überraschend großes Potential an im Kontext erfrischend Stil variablen wie druckvollen Techno-Tracks.

a tricky market [with a tail] …

A lesser talent than Derrick might rest on the laurels of having established two internationally successful labels - in the meantime distributed worldwide - under his belt. But his discography is marked by an ever more impressive cooperation with renowned producers such as  Jerry The Cat, St. Andy, Ellery Cowles - to name but a few. And his own work includes also the release of a remarkable D-N-B track he produced himself on Jon Layne´s Intuit Solar “Comin From Tha´D´” vinyl inventory ; the 36-years-old Thompson can without any whiff of pretension include his mastery jazz, soul and bass within his cosmopolitan world view. It is only logical then that he should draw once again on his traditional training as musician and in a clearly recognisable contrast to some of the soul-less laptop activists; he plays numerous instruments for many of his own House productions and that live before his recordings are fed into the mixer. "It's a very tricky market. I have no desire to get involved in this battle of between `selling out´ and `authenticity´. Nor I don´t want to bang people's ears with "somewhere in between" with some 4-2-da floor-beats which lack any identity of their own, and could be interchanged without anyone noticing. The message from Soiree [Distr. DNP, Berlin] and X-Plor [Distr. Submerge, Detroit] is more subtle. I genuinely believe that a large number of DJs and collectors are smart enough to decipher this message. Personally I like that music in particular which I listen to, then lay apart to one side, and from which when I play it again two weeks later - even in a club - invariable hear yet a fully new aspect.” Heute, mit der Etablierung zweier erfolgreicher und mittlerweile weltweit vertriebener Labels im Rücken, die sich derzeit durch eine immer breitere Besetzung mit renommierten Produzenten wie Jerry The Cat, St. Andy, Ellery Cowles, Rennie `Dubnut´ Foster - um nur einige zu nennen - auszeichnen und u.a. der VÖ eines eigenen, bemerkenswerten D-N-B-Track auf Jon Laynes zurückliegender Detroit-Bestandsaufnahme "Comin' From tha D", kann sich der End-Vierziger Thompson ohne Umschweife zu seinem musikalischen Referenzrahmen aus Jazz, Soul und Bass im Sinne einer kosmopolitischen Weltanschauung ganz und gar frei bekennen. Da kommt es fast schon folgerichtig, dass er seiner traditionellen Ausbildung entsprechend, und in klar erkennbarem Gegensatz zu manch einem seelenlosen Laptop-Aktivisten, sämtliche Instrumente für viele seiner eigenen House-Produktionen erst einmal live einspielt, bevor deren Spuren dann durch den Mixer gehen. "It's a very tricky market. Ich habe allerdings keinen Bock auf diesen Kampf zwischen Ausverkauf und Authentizität. Ich will den Leuten nicht `Irgendwo Dazwischen´ irgendwelche austauschbaren 4-2-da-floor-beats um die Ohren knallen. Die Message von Soiree [Distr. Submerge, Detroit / DNP, Berlin] und X-Plor [Dist. Submerge, Detroit] ist subtiler. Ich glaube, dass viele DeeJays und Sammler intelligent genug sind, diese Botschaft zu entschlüsseln. Ich persönlich mag eben besonders Musik, die ich mir anhöre, dann beiseite lege, und aus der ich, wenn ich sie zwei Wochen später wieder auflege, selbst im Club noch immer einen ganz neuen Aspekt herauszuhören vermag." SITH_bookmarks + alltime top 20

d2000mag Text & Interview: Claus Bachor  ll  Translation: Timothy J.Gluckman pics by Marie Staggat, Claus Bachor and Psycho Thrill CGN

[detroitpromotv]

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