ION STORM 012: live @ TAXI radio | Hoedown

ION STORM 012 presents two tobias.DJ mixtapes from the archives…

The first 45 minutes is live on TAXI Radio, 96.1FM in Vancouver on November 18th, 1998, sometime past midnight, on DJ Leanne’s show Housecall, hosted by Melanie Dawn. Deep techno here from labels such as Cosmic Records, Blue Recordings, Svek, Jericho, with records from Swayzak, Altitude, Steve Bicknell, Cari Lekebusch, Jasper Dahlback and Adam Beyer… yah it’s live, with skipping records & snafus. Keepin’ it honest. Included in the radio patter is an interview with DJ “Skinny” Graham — I wonder what ever happened to him?

The second 45 minutes is excerpted from a two and a half hour set at HOEDOWN, a Crazy Dave joint thrown in the farmlands of North Delta, BC, a kind of early morning, dew-soaked affair of midwest-style acieed freakery — I arrived and threw down an abstract & minimalist set of Detroit techno. As far as I can remember Hoedown was summer 1998. I think.

ION STORM 011: plastikconcept (1999)

ION STORM (011): PLASTIKONCEPT | tobias.dj | 31st August 1999

ION_STORM_011

This three-deck mix recorded August 31st, 1999, the year of the millennial countdown, 666-1, with no prepared records, just a crate of Plastikman wax indicative of an era: dark warehouses, massive soundsystems, and echoes under the stars. Featuring Plastikman / Richie Hawtin’s albums from Sheet One to Consumed, side projects as F.U.S.E. and Cybersonik, the Concept ’96 series, and unnamed releases including Plus8068.

Richie Hawtin, the erstwhile British-Canadian from London, Ontario, was a revered influence on the small techno collectives out West in Vancouver, BC [ notably shrumtribe.com ]. We maintained contact through the techno.ca mailing list & through drops from Plus8’s webmaster Tosh, who gratefully provided advanced promo direct from Richie.

I had the pleasure of interviewing Hawtin at the time for Discorder magazine, discussing his then first-step into digital DJing with Final Scratch (which at the time ran only on BeOs). A futurist to the core, Richie has since proven himself one of few sole survivors in what transformed from an esoteric, acidic ‘ardcore element of rave & Detroit techno culture to the Berlin & Ibiza “techno industry”.

PLASTIKONCEPT 1999

== mixed by tobias.dj ==
deradio.ca
djtobias.com

ION STORM broadcasts interstellar techno, future house & offworld ambient from the vaults of TOBIAS.DJ. Prepare your space voyage with occult sounds drawn from 20+ years as a technoculture catalyst and turntablist. The mission — to invade consensus reality with an all-out assault of alien frequencies. Some sex in zero gravity included. Occasional interplanetary guests from the technosphere and label [ IOSOUND.ca ].

NO TRACKLISTING.

 

ION STORM 007: live @ DELIVERANCE (1997)

ION STORM (007): live @ DELIVERANCE (1997)

++ pulled from a pile of tapes, this be my live set from DELIVERANCE, 17 July 1997 : an outdoor renegade thrown by D & D of X-Max Productions, up on the plateau, west of Nanaimo, BC, on Vancouver Island. also on the bill that night: dub gnostic, Peaches aka Amtrak, and Kultcha.

++ the name of the night well-reflected its namesake in film, as rednecks showed up on ATVs, lights blinding the entranced ravers. we had some luvin’ beer set aside for the occasion, and took care of their cultural estrangement in short order. by the time I came on to play, sometime in the deep of the night, bangin’ acieed seemed appropriate, with a resounding, never-to-be-repeated trance finish as we approached sunrise (this was the only time I ever played out such trance records … my guilty pleasures).

++ many memories from this night: driving up a potholed and water-barred logging road in my trusty Honda Civic proved to be something of a challenge. we loaded all the records up front, but even that wasn’t enough, so DJ Lunatech opted to jog part of the way./// the soundsystem was the first homebuilt iteration from Dave, and the limiter settings meant that the breakdowns would pop louder than the bass. but it was also the first encounter with what would become the de facto Shrüm Tribe soundsystem …

++ last but not least, if you can help identify a few of the tracks, I’d be grateful. I trainspotted what I could, but I appear to be missing a few records from my collection, and/or have sold a bulk of the trance material …

== TRACKLISTING ==

CJ Bolland – The Prophet – The Analogue Theatre LP – Internal 13 (1996)
Robert Armani – VII Chapter LP – Chicago Style 002 (1997)
Chris Liberator – System Test EP – Smitten 10 (1997)
DJ Hyperactive – RX Tribe – Planet of Drums 08 (1997)
DJ Rush – Maniac – Djax-Up-Beats 279 (1997)
Twister – Paradoxical Paradigms – Nitric (1996)
Set Up System – Fairy Dust (1997 Remixes) – Nitric (1997)
??? – (breathing) – ???
Hallucinogen – Space Pussy EP – Dragonfly Records 37 (1996)
DJ Misjah & Tim – ASD – X-Trax 015 (1997)
DJ Misjah – Psyko Feelings – X-Trax 017 (1996)
Taucher – Waters – Liquid 004 (1997)
Art of Trance – Kaleidoscope – Platipus Records 27 (1997)
Terra Ferma – Floating/The Scream – Platipus Records 21 (1996)

the last three trance tracks are mixed in by Paul Kultcha (I left them in as they’re on the tape), though I don’t know what they are:
??? – ??? – ???
??? – ??? – ???
??? – ??? – ???

== mixed by tobias.dj ==
deradio.ca
djtobias.com

ION STORM broadcasts interstellar techno, future house & offworld ambient from the vaults of TOBIAS.DJ. Prepare your space voyage with occult sounds drawn from 20+ years as a technoculture catalyst and turntablist. The mission — to invade consensus reality with an all-out assault of alien frequencies. Some sex in zero gravity included. Occasional interplanetary guests from the technosphere and label [ IOSOUND.ca ].

SYNAESTHESIA (2003)

filmed live, one take, @ QC Studios in Montréal.

film & concept by TETSUOMI ANZAI, who imagined positioning this footage alongside that of a pianist & a conductor to demonstrate the fluidity of expression marked by the hands — regardless of the instrument. blog post on the filming.

“I hope to release a DVD of the final footage in the near future”.
—- (It only took 10 years to get it online.)

Camera shaking courtesy of the Rat Man; and yes, the crossfader broke around 2 minutes in. Deep bows to my compadres of the era: all those at SAT, Casa del Popolo, Mitchell @ intr_version, NAW, Bruno @ Laïka, and with those I shared the decks & stage, Fishead, Daniel Gardner, Johnny Ranger & the Mole.

lost in a bc forest (1997)

 

lost in a bc forest

DOWNLOAD LOST IN A BC FOREST (SIDE A)
DOWNLOAD LOST IN A BC FOREST (SIDE B)

Vancouver is a peculiar place: its geography offers many different kinds of spaces for intervention and occupation. While warehouses dot its ports and industrial outlands, the city itself is surrounded by ocean, forest, and mountains. Logging roads snake up through thickly forested valleys. Waterbars and potholes bar access. Forging on means losing site of urban civilization. In these curious pockets, rave culture thrived. Many of the best raves were held far up these dirt roads, among trees and glacier-fed rivers. Occasionally, curious locals would arrive, drunk and confrontational, in pick-ups and ATVs. The best trick was to seduce them with Colt .45, spiked with a bit of pharmacology designed to endear the mind to new experiences. Conversions happened. People’s lives were changed.

This set was recorded at one such event in July, 1997. A small, but intense affair, a nameless event. I felt I had not yet mastered my skills, which was true: I could not yet replicate in live situations the consistency of mixing I was able to sustain in the studio. Sets were hit or miss; but either way, they were inspired, and a certain kind of raver — one given over to wild abandon, to giving oneself up to the noise — liked what I was doing. Unlike many other DJs of the era, I was fearless — or some would say, ignorant of the dancefloor. It was not that I didn’t care whether my experiments failed or not — I most certainly did care — but I felt that the passion of the mix, its intensity, mattered more than its perfection. I was interested in quarter-beats and chaotic, helicopter mixes; I desired speed and fury, and I rarely, if ever, planned out the order of my records beyond a track or two. These were techniques and strategies which also interested Mills and Hawtin. But I hadn’t yet trained myself to moderate headphone and monitoring volume — it took years to focus upon lower-volume mixing — so my ears fatigued quickly. These were all lessons learned, over time. But what remains is my first duplicated mix, part of a series I called Not-So-Perfect Mixtapes, of which this is volume 2. On the front cover is a clip-art GIF of a red Coleman lantern — a common source of light for backcountry endeavours of acid-fuelled stargazing and ritual dance debauchery.

tobias.dj
May 2012