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It’s fairly stress-free after the task of hooking everything up. Occasionally I’ll have a pre-conceived idea of how something should be processed but it usually ends up changing anyway. It depends on the project… but yes, it’s almost always ‘free-minded jamming’. Is it usually a smooth, free-minded jamming process or do you often have to battle to impose your ideas? I learn from everyone all the time and I think that’s important. Everyone has their own idea of how something should sound or how a certain drum pattern should go. In terms of creativity, I think it’s the individual personalities of the people I work with that I find the most intriguing.
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Having another set of ears is useful because you are both hearing things completely differently. Technically it’s always inspiring to learn different ways of creating sounds and combining other people’s methods/equipment. What does the fact of working together with other producers bring you in both technical/creative terms? It also gives me the time to really delve into a record that I hadn’t spent much time on in the initial listen.Ĭivil Duty, De-Bons-En-Pierre, Juzer, Mutant Beat Dance… you’ve multiplied collaborative side-projects over the years, which all explore a distinct facet of your musical universe. When doing a podcast I can sit down with my records/tapes/media and organize stuff a bit more. I’m less fragmentary when playing my own music.
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Is this extremely fragmentary way of building your sets something you like to explore when playing live or just the kind of fun you like to have when taping a podcast? A Pioneer DJM-500, two turntables, a shitty ’90s Numark CDJ with a broken spin wheel and a tape deck. Can you tell us more about it, how did you proceed technically speaking? Thanks for that proper mind-bending mix, man! It has to be one of the most intriguing and inventive audio collages we’ve ever featured in the mix series. "I just want to make music I like (or hate) and put it out." We sat down with Beau to discuss the big-money studio/clever minimalism dichotomy, creative process and his absolute hatred for all things involving cottage cheese.
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REDDIT MIXMAN STUDIO SERIES
Taking up the room between EBM, screwed-up industrial, broken hip-hop and further unidentified electronics, Beau’s contribution into our podcast series defies the notions of easy-listening and regular mix format, instead opting for plain left-of-centre audio collagism with a selection that ranges from The Klinik to Skinny Puppy, via scads of weirder-than-weird interludes and vandalised downtempo drifts. Molecular biologist by trade, the American producer tinkers with his analogue gear like a mad scientist slicing, dicing, drilling down and through the superficial dermis of raw machinic spurts and variedly sourced samples to extract a sizzling juice of fractured synthlines, frantic scope distortions and off-kilter rhythms that goes unparalleled these days. Having forged a solid reputation as a bold, innovative experimentalist and mischievous knob-twiddler in the club-associated scene – getting him to release on labels such as L.I.E.S., Rush Hour, Jealous God, Dark Entries and more – Chicago’s Beau Wanzer makes for a special case in today’s electronic music game.