Showing posts with label IF? Records. Show all posts
Showing posts with label IF? Records. Show all posts

Hardboiled Little Nobody


You know, I just looked up the word ’schizophrenic’, probably on the worst possible resource (Wikipedia), and it says that it’s “a mental disorder characterized by a disintegration of thought processes and of emotional responsiveness. It most commonly manifests as auditory hallucinations, paranoid or bizarre delusions, or disorganized speech and thinking, and it is accompanied by significant social or occupational dysfunction.”

Commonly, however, most people think of schizophrenia as related to those people on the train, bus or tram who’re seated there talking to themselves, quite often in heated debate, which is what I decided here to try out for size: Yacking with myself about myself. You know, a bit of me, myself & I. Weird concept, for sure, especially before breakfast.

It’s occasionally interesting (and some optimistic types would suggest insightful) to read what people write on their personal soap boxes across the broad spectrum of social networking sites – a form of schizophrenic propaganda bomb, since these diatribes are usually inscribed in the comfort of one’s own home and head space.

Then there are mine, which somewhat fizzle.

In my ho-hum bio on Resident Advisor it says “Australian expat Andrew Bergen (a.k.a Andrez) has been making music as Little Nobody since 1997, and relocated to Tokyo in 2001. Formerly from Melbourne, Bergen helms Melbourne/Tokyo label IF? Records. He’s played live in Tokyo, Osaka, London, Detroit, New York, San Francisco, Beijing, Windsor (Canada), in the Netherlands, Hong Kong, Singapore, Sydney, Adelaide, Brisbane and especially Melbourne.” Yawn. I can’t actually remember when I hacked together this vacuous claim-to-fame – I think in about 2006 or 2007, around the time that I did a more churlish one for MySpace, which now sits pretty on Soundcloud: “Entrenched in Tokyo, Andrez likes to steal furtive glances in a pseudo-metaphysical rear-vision mirror, greedily brushing up on the ‘found art’ chapter of the Dadaists’ handbook – all the time stimulated by Marcel Duchamp’s display of a toilet urinal. Blah, blah. Oh yeah, and he also happened to run IF? Records.”

(By the way, that MySpace site is a chaotic mess; soon I’ll get around to tidying it up, but these days… does it really matter?)




The platform on Facebook for Little Nobody is just plain sad: “Little Nobody is the 14-year musical itch of Tokyo-based Aussie expat DJ/producer Andrez Bergen, also known as Funk Gadget, DJ Fodder, Schlock Tactile, Conversational Dentures, Atomic Autocrac, and a member of the LN Elektronisch Ensemble.”

Insightful my arse.

Insight probably better comes via the music itself I purport to make, and let it be said right here and now that making music is for me a hobby rather than a profession – something I like to potter over in the wee hours or in those moments when my wife and 5-year-old daughter aren’t home. I do often play the half-finished tunes to my daughter (she’s one of my best critics), but the act of making music in this day and age is hardly one that’ll support family livelihoods, so I have a rash of other jobs that actually pay the bills.

Also I have a deliberate tendency for waywardness in my music that tends to make chart-action unhappy. See, I was brought up listening to jazz and Gene Krupa, and discovered Cabaret Voltaire, Throbbing Gristle, and a post-punk mentality in my late teens; my Melbourne Uni thesis was about the industrial music putsch in Britain in the 1970s. This madness just has to have some kind of disruptive effect on any kind of attempt at ’stream-lined’ music or the quintessential smooth groove.

Other people tend to be more tactful, which is nice. Sebastian Bayne, who took over IF? Records last year, in promoting my new album Hard Foiled wrote that “Little Nobody and his unique take on the regions between house and techno can be often times raw, with a swinging groove yet never formulaic; he treads a path that would be considered unsafe by other artists, letting nothing get in the way of creativity.”

That sounds far better than anything I’d tend to ‘fess up here, so let’s stick with this theory.

You can read more of this somewhat schizophrenic and completely self-indulgent waffle on the Techno How? site.

Reasons to be Cheerful, Part 1


Something lighter here, as life appears to be edging back on track and into the realm of normality, at least for those of us in Tokyo and elsewhere - at a distance from the smoldering nuclear smoke-stacks at Fukushima.

Personally, I have a lot of reasons to celebrate.

One of these is my family, and my five-year-old daughter Cocoa, who is a just plain god-send. She's funny, talented, and growing up way too fast!

Another is my first novel Tobacco-Stained Mountain Goat, which was officially released through Another Sky Press at the beginning of April and is now available on Amazon. Yep, it's on Amazon (the UK, USA and Japan versions) and I keep clicking on one of these everyday to peer at the wayward tome and sigh - silently, of course. I don't want people to concern themselves too much with my mental state.

It just got reviewed by Forces Of Geek today, and the reviewer, Tony Pacitti, seems to completely "get" where I was coming from. I love what he writes, even the negative. You can check it out here. Wow.


Another reason to be cheerful is my new Little Nobody album, Hard Foiled, which is finally being released today. It's a collection of electronic/techno stuff I've cobbled together over the past couple of years and is being released through IF? Records.

There's a digital version via Beatport as well as a limited edition CD (with less tracks, but still clocking in at 70 minutes) via Lulu.

Last reason? I live in Tokyo. And I love Japan. This is my home.

Old Skool Vinyl



Nope. We're not talking plastic shopping bags - which is what most Japanese think when you mention the word "vinyl", though it's pronounced something like veekneel over here.

I'm also not really interested in skirting the territory of the derivatives of ethene (CH2=CH2, with one hydrogen atom replaced with some other group), which is the scientific guff talked up on Wikipedia if you google vinyl.

The issue here is that other vinyl, a gramophone or phonograph record (yes, they do still make 'em), the analogue sound storage medium consisting of a flat disc with an inscribed, modulated spiral groove.

Here I'm also plundering directly from Wikipedia (sorry, but it's 4:20 a.m. and my brain isn't functioning enough to be inventive in any way), though I did fix analog so it reads as analogue.

Anyway, where was I?


Oh yeah, the picture above slapped around my senses - old skool vinyl, in particular a little flattened black nugget my label IF? will now be releasing through Prime Direct in the UK at the end of November.

It's one of my Little Nobody tracks, 'The Condimental Op' (I actually nicked this from a chapter title in my upcoming hack novel), with remixes by Detroit’s superb old skool vets Aux 88 (430 West/Submerge/Direct Beat/Studio !K7) and Chicago legend K. Alexi Shelby (Transmat/Studio !K7/Djax-Up-Beats/Trax/Warp/Artform) kind'a all going back to the source: Pure electro/techno, 2010s style. Well, me likes to methinks, anyway.

It's already been spun, charted and is gathering a wee bit of steam thanks to support from Dave Clarke, Laurent Garnier, Shin Nishimura, Trevor Rockcliffe, Alan Oldham, Inigo Kennedy, Kirk Degiorgio, Dan Curtin, Steve Poindexter, Jerome Baker, Mike Dehnert, Ryuji Takeuchi and Anthony Shakir.

This vinyl baby will be available from November 27th (incidentally my mum's birthday!) via Prime, but you can get a sneak preview (in lovely lower-res audio) here:



The Greatest Necessity of the Age!


Sometimes things aren't so subtle after all, especially when you have a big, slightly blacked-out loo (stuffed, apparently, with used toilet paper), on the cover. This is the brand new EP, The Greatest Necessity of the Age!, out through IF?

It's by an apprentice expat French plumber in Tokyo - and we're unsure if he's an apprentice expatriate or new at his job.

One thing is for sure, we certainly dig the moniker, Joseph Gayetty. Rarely have more appropriate names reigned so truly - and if it's for real, then the world is full of suitably surreal unintended humour.

Funk Gadget - Patrick Pulsinger remix



This one's out today - with big thanks to Patrick Pulsinger and the people at Sydney's Hypnotic Room Special Edition imprint.

Patrick harks from Austria, and being Australian myself, I always had a special affinity for the breed since we're continually mistaken for one another when we travel overseas, despite the variant native language and wildly different lengths of history. Besides, one of my favorite films is The Third Man, shot in late '40s Vienna.

My own interest in Patrick Pulsinger, however, has different origins.

From 1994 I had a radio show on community station 3PBS FM in Melbourne. It was called 'Cyberdada', and it was my other baby aside from my record label IF?, and in 1995 the most-played record on the show - amidst awesome 12-inches and tapes of stuff from Relief, Axis, Tresor, Trope, Sativae, Mosquito, Ninja Tune, Force Inc. (and IF?) - was actually a double-CD from Austrian label, Cheap Records.

The title? 90 Minutes in the Eyes of iO. It was produced by label bosses Patrick Pulsinger and Erdem Tunakan, with mates.

The release quite literally decked me, and Pulsinger has continued on as a mainstay influence in my own musical reference palette ever since, via the Austrian producer's own output (on labels like Disko B, Compost, Studio !K7, R&S, and International DJ Gigolo), as well as some of his brilliant remixes of people like DJ Hell, Chicks On Speed, Tosca, Tanzmusik and Ken Ishii. He certainly seems to have an eerie knack for a shnazzy remix.

Which brings us up-to-scratch - and my own somewhat cantankerous Funk Gadget project persona.

There's a Funk Gadget track I recently did called 'Blah Blah', which owes a great deal to the inimitable Paul Birken, and when it came to choosing a remixer for the track, Pulsinger's name was at the very top of the list.

Why? Because the man continues to do my head in, in completely cool Pulsingerian ways, a decade and a half after I first heard his mischief.

"I had a good feeling about the track and an instant idea for a remix," he says now, after having finished off the grand master challenge (it was released yesterday through Hypnotic Room Special Edition on July 10).

"Since the original has a good, funky rhythm track, I tried to keep that and give it a more four-to-the-floor approach. The klonky stuff is all cut-up from the original; I just added a Juno and a Moog Bass, and here you are. I was aiming at people who go out to clubs, listen, dance, enjoy a big bass, a drink, a smoke, nice company, are nice to animals, love peace - that sort of thing!"

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