Antoni Maiovvi. An Italian avenger from the mists of time or a bloke from Bristol who makes noise music, slavishly detailed Italo homages or ghetto-flavoured witch house. We’re not quite sure. With a prolific work rate that has seen him just release his third record with the ever dependable Seed – a double album called Battlestar Transreplica / Trial By Bullet we are surprised he found the time to answer our 10 x 4 questions. Then again in his crime fighting day job he should be used to filling in forms. Check out the stunning MurderFunk a the bottom of the page.
Favourite part of the day to create?
As much of a night owl as I am, taking Monday off to reset, the best time to write is Tuesday to Friday between 10am and 6pm. It’s a struggle to keep regular hours, especially with all the vigilante justice I have to dish out each and every night…
Method or madness?
Distance. Blocking out the world, allowing sounds to inspire seemingly out of nowhere. Putting yourself on receive like some lovecraftian radio. I guess that is madness then.
Most influential person?
First musical love?
First total obsession was The Cure. I still find new things in Disintegration all the time.
One thing you cannot live with out?
Personal space and the ability to physically hide from the world for days on end. Sometimes I like to be near people and not talk to them. People find this strange. I like people, don’t get me wrong, I just don’t see why I can’t sit quietly and listen every so often.
Voice. I wish I could sing better, or at least control my singing as well as others who have more natural talent. I never wanted to be a singer, it just kind of happened when I was a teenager playing in rock bands and as I get older I wish I’d concentrated on it more.
Biggest break so far?
To be honest I don’t think I’ve really had one. There are events and situations that I’m very proud of. My 2nd album becoming a featured torrent on Cinemageddon (an uber geeky psychotronic movie site) and seeing all the users discuss if it was a real soundtrack or not. Meeting Goblin. Going to clubs and people knowing my records. Antoni Maiovvi began as a fun side project to all my noise / “serious” composition work. I really never expected for it to go this far!
Guitar pedals. Not everyone can afford hardware. A free VST softsynth run through a decent distortion / fuzz / analog delay / phaser adds character, dirt and magic to any mix.
A place to create?
At home. I had a studio once, and I did a lot of work there, but comparatively since having windows I’ve written a lot more, even if those windows are closed and the curtains are drawn. Having the option helps a lot.
Last thing that inspired you?
Being horny, lonely and unable to connect with any other human being.
Cyberdance main man Ali Renault – one half of camp-disco overlords Heartbreak and a fearsome producer of electronic funk in his own right is to release his debut album before the end of the year. After a string of singles for Cyberdance and a clutch of cuts on Andy Blake’s Dissident imprint, his full length expands on themes of distopian-ghetto disco, with song titles like ‘Dignitas Machine’, ‘Flies a Kungan’ and ‘Zombie Raffle’. Having had a quick listen of the album today we can assure it is absolutely fierce. Not to be missed.
Justin Robertson is a true pioneer, innovator and champion of house, techno and all kinds of electronic music in the UK. A Hacienda DJ and key figure at Manchester’s Easter Bloc record shop, he has released music under his own name and a myriad of aliases such as Gentleman Thief, Revtone and Lionrock. Stopmakingme on the other hand is a new face, fresh on the scene and full of the manic energy you would want from a whippersnapper music producer. Recently they have come together to revitalise Roberston’s Deadstock 33s project and together they have released a joint EP of stunning future disco that knows where it’s coming from and yet has it’s eyes set firmly on the future. Coming from distant ends of the dance music continuum we thought we would ask the duo to interview each other about whatever they want and their answers are entertaining and illuminating. You can check out a stream of their E.P at the bottom of the page.
Justin Robertson to Stopmakingme
What was the first piece of music that blew your mind and what was the last?
Watching Kermit sing ‘Once In A Lifetime’ on The Muppet Show as a child definitely affected my young mind in quite a drastic way. It remains my favourite song. Recently, the Legowelt remix of Wolfram has been knocking me out with its uber camp brilliance.
If we became stadium DJ’s a la Swedish House Mafia, I would wear a diamond encrusted Inverness cape and silk deerstalker. What would you wear?
I was obsessed with Slipknot and Marilyn Manson in my teens so I’d have to take the opportunity to don masks and make up. That’s not very bling,though, is it!? Maybe I can wear a diamond-encrusted boiler suit. Failing that, I’d definitely track down Paul Oakenfold’s Chinese warrior armour (Google that shit!)
What is the job of a remixer?
All it ever is, in my opinion, is to put your own personal take on a record. To bring out and exaggerate elements of the original which work for you. If this means your remix comes out sounding totally different, then cool. I find it fascinating how everyone can interpret music differently.
What album or tune brings the sunshine?
Underworld ‘Two Months Off’
Outside of music what gives you inspiration?
I studied English and Film at university so literature and movies mean a lot to me. Just listening to anyone who is enthusiastic and passionate about creating something out of nothing and working hard at their craft. That and Mars Bars.
If your music was the soundtrack to a film describe the movie.
That’s a tough one. I have no idea. Although I’d like to cast Brigitte Bardot (circa ’63) in it. And Bill Murray. Kevin Shields’ soundtrack for Lost In Translation in unbeatable.
Is there still artistry in Dj’ing ? Does DJ software diminish or enhance the performance?
Yes, absolutely. I’ve been asked this question a lot recently. Anyone can tell a joke but not everyone can call themselves a stand-up comedian. In the same way, anyone CAN now play records in clubs but there is so much more to it than that. There is a passion and energy which I can see running through all my favourite DJs and it cannot be faked.
What was your ”road to Damascus moment” when you realised electronic music was your thing?
There have been a few but the most vivid is listening to Mary Anne Hobbs’ Breezeblock show on Radio 1 as a teenager. There was a Chemical Brothers special in which they talked about and played some of their inspirations. My eyes were suddenly opened to how club music is informed and affected by pretty much every other genre and that’s what makes it so exciting. The moment they played ‘Temptation’ by New Order sealed the deal.
Do you have a favourite spot in London or anywhere in the world that brings you joy or stimulation?
In terms of clubbing, I still get excited every time I walk down the stairs of Fabric. The End (RIP) used to have the same effect on me too. As a city, New York has a special feeling in the air which I have not experienced anywhere else in the world.
If you had an airline what would you call it?
A-Very Special Airline…. what a cheesehead…
Stopmakingme to Justin Robertson
When you were playing at The Hacienda, were you aware you were part of something special? Did it feel different to other clubs?
Yes the Hacienda felt like no other club. It had a sharp design aesthetic – the whole factory package. Plus at that time you really didn’t have any ”cool” clubs, they were all shirt n tie Ritzy places. I think Peeter Hook said they started the club so they had somewhere to go that would let them in! By the time U was playing there it had become the most exciting club in the world in my view, totally unique, impossible to repeat, just a perfect storm of music, drugs and energy.
Who were your DJ heroes when you were starting out?
I used to listen to MP2, that was Mike Pickering and forgotten hero Martin Prendergast, and they were dropping all these early Chicago house tracks. Pre acid house, everyone was dressed up in suits and rare groove togs, but jacking to this alien machine music. I love Jon Da Silva too he was digging deep, mixing disco with house with dancehall reggae. I used to knock on his door in Moss Side and pester him to use his decks! I was selling them all records at eastern bloc, a magic time. Andrew Weatherall has always been an inspiration, always fresh and interesting .
It’s apparent to me that one of the keys of your longevity is the amount of hard work you’ve put in. You’ve earned a huge number of friends, fans and followers (and maintained them) by consistently being able to ‘rock the party’ and show people a good time. Do you still enjoy it as much as ever? It definitely seems like you do.
Yes absolutely , as long as the music stays fresh, thats all the fuel I need! Its also all I’ve ever done!
I love how you give away free Deadstock 33s edits. When you listen to tracks, do you often think about how they could be extended or made to work for the dancefloor?
I sometimes try and find a track thats crying out for a more DJ friendly arrangement in some cases, but often I try and pick weird ones that you wouldn’t think of in a club context, like Hawkwind’s ”Aubergine that ate Rangoon”.
Your record collection is immense and you’ve told me it’s a fraction the size of what it once was. Do you ever regret downsizing? Are there any records in particular you’d be keen to get again?
I’m on the hunt for a few Italo house piano anthems, but to some extent i’m happy having a great collection of stuff i love rather than a library.
What makes playing a night like Bugged Out so special?
The energy of the crowd and the fact you can play interesting forward thinking music. In fact people demand it!
I’m interested in the period when you first met Tom & Ed [The Chemical Brothers] in Manchester as they cite you as an influence. What kind of records were they most into? How did their remix of Lionrock come about?
They were always on the floor at Most Excellent and Spice and would pop into the shop a lot. I think they always dug the chunky 110 end of the night tunes the most – Renegade soundwave, My Bloody Valentine etc, we often found ourselves at after parties going through records. I think the remix came about after ”song to the siren” came out. I loved that record I’d remixed and produced some tracks for Ariel, Tom’s old band, and when Ness [Tom’s girlfriend, now Wife], who worked at Deconstruction suggested it and I jumped at the chance. I think it may have been their first remix?
Which producers are getting your juices flowing right now? It seems like you’re still delving into lots of genres.
I’m digging Golden Bug, People Get Real, moullinex, kink, mountaineer, Diegors, Die Vogel and Abstraxion today!
So, you’ve finished an album?
Yay! 13 tracks of drone disco, Balearic pop and space dance.
Do you plan on making any more music under your real name again?
Hmmm, not sure as I quite like my pseudonyms! Seems to allow me to express my schizophrenic self.