Thursday, December 16, 2010



interview video from Richie Hawtin about this Plastikman 'Arkives' release:


Plastikman Arkives Pre-Order site now live

* Pre-order is now available at
* Richie Hawtin comments on the Arkives project

Plastikman's Arkives is a comprehensive box set that pulls together all 17 years of the Plastikman story so far, including remastered versions of all six previously released Plastikman albums and a trove of rarities, unreleased sessions and new material.

Richie Hawtin comments: “Arkives is the first time that I've collected together all the material under the name Plastikman. Once this is released, for me, it's everything that I know, that I have, that I believe is ready or needs to be heard for people to get a full understanding of what Plastikman is today. Where it's come from, where it's been, where it is now, and hopefully to prepare people for where it might go in the future.”

Arkives is a strictly limited, made-to-order edition—only as many copies will be manufactured as have been pre-ordered— that will be released in four different formats:

* Reference (11-disc CD/DVD/book edition)
* Analog (6 records on 180-gram vinyl in a deluxe box, with poster)
* Digital (digital download version)
* Komplete (Reference & Analog + bonus digital downloads)

Arkives Reference, the main personalized edition, features 11 CDs and 1 DVD. The deluxe packaging includes a slipcase with foldout sleeves for all 12 discs, plus a 64-page book that tells the Plastikman story in archival photos and a newly commissioned text. The set includes newly remastered versions of all six previously released Plastikman albums—Sheet One, Musik, Recycled Plastik, Consumed, Artifakts (B.C.), and Closer—and five further CDs of rare and unreleased material.

Editions can now be pre-ordered at until December 31, 2010. The site also carries full album tracklist information.

The releases are priced as follows:
• Reference €129 Europe / $199 Rest of world
• Analog €55 Europe / $89 Rest of world
• Digital €59 all territories
• Komplete (Reference + Analog) €159 Europe / $239 Rest of world

There will also be special bonus content for everyone who orders before November 14: an exclusive Plastikman mix CD upon ordering, plus a Xmas card and unreleased digital music, which will be received by Christmas.

Richie Hawtin continues: “Trying to put Arkives together has been a jigsaw puzzle, a needle-in-a-haystack situation. So much of the content has been spread out all over the world. I made one special trip back to Canada just for this, and I was just going through boxes of things in the studio. Finding not only DATs of music I totally forgot about, but also photos and images and flyers of things I didn't even really remember happening. It's 18 years of history. This project, I hope, is an inspiring and interesting journey for everyone who becomes part of it, who reads the book and listens to the music, but for me also it's been a journey myself. People are complaining about the music industry going down, about the lack of sales, that people are only downloading digital content or even just trading it. But I believe that if you can bring music together in a package and add something greater—we have a book, we have unreleased material and photos—it becomes something greater than the sum of its parts. It's a whole experience.”


Long before Richie Hawtin became what he is today—superstar DJ, mastermind of the Minus label, entrepreneur, technological innovator, style icon—he was best known for a single project: PLASTIKMAN.

Between 1993 and 2003, PLASTIKMAN created an astonishing body of work, one that didn't so much define a time and place as explode them, expanding the dimensions of Detroit techno and redefining the possibilities of electronic dance music itself.

Across six albums (Sheet One, Musik, Recycled Plastik, Consumed, Artifakts (B.C.), and Closer) and numerous singles like "Spastik," "Plastique," and "Sickness," PLASTIKMAN evolved into one of contemporary electronic music's most distinctive voices: minimalist, psychedelic, groovy as anything, ever mindful of the transcendent properties of pure electronic sound.

The records alone would be enough to make a legend out of anyone, but Hawtin—as PLASTIKMAN—also had something else going for him: some of the most intense, unhinged, and mind-bending parties that underground electronic music has ever known. Held mostly in and around Detroit and Hawtin's home town of Windsor, Ontario, these events' reputations spread worldwide, by word-of-mouth and message board, to become legendary moments in the history of underground electronic music.

The recipe for their success wasn't exactly rocket science, despite Hawtin's contemporary reputation for technological innovation. The parties were based upon the model that Hawtin had experienced as a teenager at Detroit's legendary Music Institute: a black sweatbox of a room, a single strobe light, and the loudest, fullest sound system that the walls could withstand.

Beginning with those Spartan elements, Hawtin and his friends staged increasingly elaborate events whose every detail was intended for the sole purpose of pulling people out of the everyday and plunging them into the unknown. Their success was attributable equally to the crew's bootstrap ingenuity and uncompromising standards.

Events like Hard, Harder, Hardest, Heaven & Hell, Jak, Sickness & Recovery, and the Fuk Tour raised the bar for what was possible from an underground—which is to say, illegal—party; they not only made PLASTIKMAN a hero across the Midwestern USA, they helped create the platform for an entire scene to develop.

At a time when American rave culture was ballooning with cartoonish neon excess, PLASTIKMAN's parties emphasized fundamentals. But this wasn't the back-to-basics aesthetic of retro-leaning dance-music scenes. They used the materials at hand to create their otherworldly, out-of-body experiences.

The materials could be as basic as a roll of black plastic sheeting that covered the walls and ceiling or as elaborate as 40,000 square feet of abandoned automobile factory. They transformed the spaces they used, rarely setting up in the same place twice, and always altering the structure so completely that if you returned the next day, you would never know what had taken place there. For the duration of the party, it was a world unto itself, cocooned in black plastic or cushioned with four inches of foam. There were probing lights, bowls of fresh fruit, pools full of goldfish, Melba toast dipped in acid.

They mounted four-point sound systems when two were standard. They arranged speakers in the round, the better to immerse the dancers. Their sound system, standing over two heads high, became so famous that it earned its own name—the System—and logo. The speakers ran so hot that they glowed deep inside. Partiers attributed nearly mystical properties to the System, latching onto it like lampreys, becoming one with the vibrations.

Expanding upon the system of info lines and map points that was common in the underground, they developed an extensive mailing list of fans across the Midwest, ensuring dedicated crowds that would travel eight or ten hours for any PLASTIKMAN event. By shrouding their parties in secrecy, they stayed one step ahead of both the cops and the commercial mainstream. They were exclusive but inclusive, designed to remain hidden to all but those committed few who wanted to come along on the journey, but open to anyone who made the effort to discover them.

Even if PLASTIKMAN is inseparable from the context that created him, the music—which is how most of the world has encountered PLASTIKMAN—more than stands on its own. The recordings were as groundbreaking as the events, suggesting new directions and new shapes for techno at every step; indeed, the parties and the records were inextricably connected, each feeding into the other in a dialectic of delirium.

In 1993, Sheet One, with a cover designed to look (and feel) like acid blotter, set the conditions for the PLASTIKMAN project. It was intended as a cohesive, album-length statement at a time when techno was mostly a matter of singles; without knowing exactly what he was embarking upon, and without even having yet invented PLASTIKMAN, Hawtin recorded virtually the entire thing, more or less in sequence, across two days and nights in the studio he dubbed UTK (or Under The Kitchen), in the basement of his parents' house in Windsor, Ontario. Released in Canada on Hawtin and John Acquaviva's Plus 8 label, and overseas by NovaMute, it changed the shape of techno virtually overnight.

PLASTIKMAN followed up little more than a year later with Musik, an even fuller exploration of the area between techno and ambient listening music. Like Sheet One, Musik focused on the sound of Roland's TB-303, shaping its output into a lithe, lyrical form that was worlds away from the strident grind of acid house as it had been conventionally known. More than anything, it challenged techno's harder/faster/louder trajectory by slowing down and tripping out, just as PLASTIKMAN’s extended DJ sets took dancers on a journey from passion to mania to something like a kind of enlightened calm.

In 1995, just as the PLASTIKMAN phenomenon was exploding—thanks to the two albums, the parties in Detroit and Toronto, and PLASTIKMAN live shows from Glastonbury to Tokyo—Hawtin was caught crossing the border without work papers and barred from entering the United States. In the end, he was able to return after a year and a half, but the experience affected him profoundly, and PLASTIKMAN subsequently took an even darker, more introspective turn. 1998's Consumed reflected that period of isolation and exile, as well as Hawtin's own ambivalence towards his growing fame. After several years of no-holds-barred parties, Consumed wasn't so much a comedown as a new and unexpected phase of a psychedelic trip that showed no end. Inspired in part by a sense of spatial and personal dislocation that he had experienced one night on acid, deep in the Michigan countryside, Consumed was both PLASTIKMAN's darkest, strangest album and also his best selling. (It was even nominated for Prix Ars Electronica's esteemed Golden Nica award.)

Artifakts (B.C.) followed in the same year, collecting unreleased material intended for an album that had been preempted by what became Consumed. That unfinished album had been intended as the third piece in a trilogy containing Sheet One and Musik—just one of many examples where Hawtin has looked beyond techno's conventional units of measurement (the one-off party, the single, the album), using multi-part series to explore more nuanced ideas at greater length.

In 2003, Hawtin returned with a fifth PLASTIKMAN album, Closer. By now, he had moved from Windsor to New York and was well on his way to becoming the Richie Hawtin we know today. Minus had established a new, global community of artists and fans; Hawtin's reputation as a DJ had exploded, thanks in part to his adventurous mix CDs (Decks, EFX & 909, DE9 | Closer to the Edit, and DE9 | Transitions), and he was headlining bigger and bigger clubs and festivals all over the world. The same year, he moved from New York to Berlin, taking advantage of the European location to take his career to even greater heights.

But for Closer, Hawtin returned to Windsor and delved deep into his alter ego once again, molding the hallmarks of PLASTIKMAN's sound into newly alien forms as he probed the deepest recesses of his own psyche. In an unintended twist upon the album's title, Closer closed a chapter of the PLASTIKMAN story: at the time, Hawtin believed it was the last time he would record in Windsor, a city he believed to be inseparable from PLASTIKMAN himself. Between 2004 and 2007, Hawtin released three PLASTIKMAN singles in a series called Nostalgik, suggesting that perhaps the project was forever to be relegated to the history books. But in 2010 Hawtin returned with Plastikman Live, a wildly ambitious multimedia show combining live performance of PLASTIKMAN classics and synchronized visuals played out on a massive, semi-circular LED screen.

The tour has taken PLASTIKMAN to more than a dozen cities and festival locations worldwide, and it will continue in 2011. After that? Hawtin has hinted at beginning a new chapter of PLASTIKMAN's remarkable story, perhaps to include new recordings, perhaps to focus on even more outrageous and innovative incursions into multimedia live performance.

Before that next phase can start, however, Hawtin has decided that it's time to take stock of everything that's happened until now, gathering together his oldest fans and newest devotees—some of whom are too young to have experienced PLASTIKMAN in his initial heyday—with ARKIVES, a massive box set compiling remastered versions of all six PLASTIKMAN albums along with five additional CDs of rarities, unreleased material, and brand-new remixes of classic PLASTIKMAN tracks from such luminaries as Vince Clarke, Cliff Martinez, Francois Kevorkian, Moby, Chris & Cosey, Severed Heads, Flood, and Mute's Daniel Miller & Gareth Jones. A DVD of live footage and PLASTIKMAN videos rounds out the set, and the deluxe packaging includes a slipcase with foldout sleeves for all 12 discs, plus a 64-page book that tells the PLASTIKMAN story in archival photos and a newly commissioned text.

ARKIVES presents the definitive history of PLASTIKMAN until now, leaving the door wide open for the history yet to be written.

YELLOWCARD Announce US Tour Dates

Supporting All Time Low on The Dirty Work Tour
New Album To Be Released March 22, 2011

Fresh out of the studio from recording their new record When You’re Through Thinking, Say Yes, YELLOWCARD are getting ready for a busy first half of 2011 on the road. With UK and Asian tour dates already announced, the boys have announced the U.S. portion of their tour. Kicking off on the East Coast in Sayreville, NJ’s Starland Ballroom on March 25th and circling around the country, the band will be direct support for Hopeless Records labelmates All Time Low on “The Dirty Work Tour” (Hey Monday and The Summer Set will accompany the bands on tour).

“This is our first U.S. tour in three years and we are so stoked on how it’s all coming together,” wrote the band in a joint statement. “We are all just as anxious as you are for next year to get here. It will be worth the wait, for all of us.”

Gearing up for the release of their seventh album When You’re Through Thinking, Say Yes on March 22, 2011 via Hopeless Records, Yellowcard have called this record “the product of thousands of miles of traveling to write together, hundreds of emails containing demos and new ideas, and finally, eight weeks of twelve hour studio days, working together again as a full band.” With over three million of their previous records sold, Ryan Key (vocals/guitar) and original members Sean Mackin (violin) and Longineu (“LP”) Parsons (drums) continuing with Ryan Mendez (guitar) will be joined by longtime friend of the band Sean O’Donnell (bass), whose addition has been described as a “natural fit” for the current mindset and progression of the group. When You’re Through Thinking, Say Yes was produced by Neal Avron, the “sixth member of the band” who has produced three of their previous albums including their breakthrough Ocean Avenue.

The Dirty Work Tour
Tour Dates

Mar 25 - Sayreville, NJ - Starland Ballroom
Mar 26 - Philadelphia, PA - Electric Factory
Mar 28 - Washington, DC - 9:30 Club
Mar 29 - Charlotte, NC - The Fillmore
Mar 31 - Ft Lauderdale, FL - Revolution
Apr 01 - Orlando, FL - House of Blues
Apr 02 - Atlanta, GA - Tabernacle
Apr 04 - St Louis, MO - The Pageant
Apr 05 - Kansas City, MO - Beaumont Club
Apr 06 - Oklahoma City, OK - Diamond Ballroom
Apr 07 - Houston, TX - House of Blues
Apr 08 - Dallas, TX - Palladium Ballroom
Apr 09 - Austin, TX - Stubb's Waller Creek Outdoor Amph.
Apr 11 - Tempe, AZ - Marquee Theatre
Apr 12 - Los Angeles, CA - Club Nokia at LA Live
Apr 13 - Las Vegas, NV - House of Blues
Apr 15 - Anaheim, CA - Grove of Anaheim
Apr 16 - San Francisco, CA - The Warfield Theatre
Apr 17 - Portland, OR - Wonder Ballroom
Apr 18 - Seattle, WA - Showbox SoDo
Apr 21 - Minneapolis, MN - First Avenue
Apr 22 - Milwaukee, WI - Eagles Ballroom
Apr 25 - Toronto, ON - Sound Academy
Apr 26 - Cleveland, OH - House of Blues
Apr 28 - Detroit, MI - The Fillmore
Apr 29 - Chicago, IL - Congress Theatre
Apr 30 - Cincinnati, OH - Bogarts
May 03 - New York, NY - Best Buy Theater
May 04 - Allentown, PA - Crocodile Rock
May 05 - Clifton Park, NY - Northern Lights
May 06 - Boston, MA - House of Blues
May 07 - Baltimore, MD - UMBC Fieldhouse

Die Krupps


'Als wären wir für immer' is the first DIE KRUPPS (mini) album with exclusively new material since 1997!

With this mini-album, DIE KRUPPS again are breaking new ground, without denying their roots or moving away from their own unique sound... this album is 100% DIE KRUPPS... DIE KRUPPS 2011!

Dance floor killers meet groove monsters, moving through the room like a steamroller... catchy melodies, massive hooks and lyrics with a message are DIE KRUPPS trademarks, and this album proves it again: body and mind are in perfect synchronicity!

The remixes complete the picture and show the broad spectrum of DIE KRUPPS music - and prove that remixes can very well have a purpose... the UNHEILIG remix for example was a result of a show both bands played together 3 years ago, when UNHEILIG was not yet the headlining band they are today... out of pure sympathy, both bands agreed to remix each other’s music... the DIE KRUPPS remix was the first to be released, but because the band is only now releasing a new album, the UNHEILIG remix of 'Beyond' wasn't released earlier... fortunately, the track hasn't aged a bit and sounds as fresh and exciting as it did when it was originally conceived.

'Dr. Mabuse', an '80s classic by Ralf Dörper’s former band PROPAGANDA, which has been in DIE KRUPPS’ live repertoire since the early '90s and was played more frequently again in recent years, also found its way onto this album... it was decided that it was finally time to release a studio recording of DIE KRUPPS' frenetic version of the cult track.

All new songs were again produced by Jürgen Engler & Chris Lietz... for the music, Jürgen Engler joined forces with guitarist Marcel Zürcher, who has been in the band since its reunion in 2005... Another featured track is 'Beyond' which is a collaboration with Chile’s best Industrial Rock act VIGILANTE.

After 'Too Much History' now there is 'Als wären wir für immer' (engl.: ‘As if we were forever’)... it seems like there is no end in sight for DIE KRUPPS! The motto is as always: Full steam ahead!


1. Beyond
2. The Chameleon Man
3. Die Macht
4. Dr. Mabuse
5. Als wären wir für immer
6. Beyond / UNHEILIG Remix
7. The Chameleon Man / VIGILANTE Remix
8. Dr. Mabuse / MEMPHIS Remix



Bringing their Multimedia Onslaught To The Masses

San Francisco, CA - Seminal electronic band MEAT BEAT MANIFESTO (MBM) is gearing up for their U.S. tour supporting the the release of Answers Come in Dreams via Metropolis Records (released October 12, 2010). Widely hailed for their groundbreaking live performances, MBM propels their electronic music into both a mesmerizing aural and visual dimension. "The live performance has become an integral component of my sound and production," sound sculptor and music innovator Jack Dangers explains. "The question is how to do it better than last time." Kicking off in Seattle, WA on February 2, 2011, Dangers and his live cohort Ben Stokes will travel across the country, bringing their mindblowing live performances that combine a sonic electronic assault with their stunning and often provocative and political video mash-ups to the masses. (tour dates below).

Minimal, textural and cinematic in scope, Answers Come in Dreams follows Dangers into more experimental territory. An artist who sees the very fluid connection between audio and visual, Jack created videos for each of the twelve tracks on the record which have been debuted on,,,, among many others, hinting at what's in store for the live show.

Self described half-snarkily as "sub harmonic colonics... schadenfreude with extreme prejudice on those disbelievers of 7Hz," Answers Come in Dreams is just that - a mind-flushing reboot of the current state of music. From the downtempo soundscape of the opening track "Luminol" to the appropriately-titled submerged beats of "Waterphone," Answers Come in Dreams is a fascinating pastiche of sonic textures and electronic rhythms that fans of MBM's past work will find alluringly comfortable while new listeners will find alluringly intriguing.

MBM's consistent musical invention has led to all forms of electronic musical experimentation over its 23 year history, from jungle to techno to industrial to dubstep to jazz fusion. Its long string of influential futuristic classics includes such groundbreaking tracks as "God O.D.", "Strap Down", "Psyche Out", "Helter Skelter", "Radio Babylon", "Edge of No Control" to "It's The Music". The single, "Prime Audio Soup" (from the album Actual Sounds and Voices) was featured in the sci-fi fantasy blockbuster The Matrix and on its platinum-selling soundtrack.

An acknowledged and celebrated innovator in the electronic music scene (his remix of Tower of Power's "What Is Funk?" was nominated for a Grammy in 2006), Jack Dangers continues to stretch sonic boundaries and influence new generations of sound activists. As a premiere remixer, producer and sound designer, he has played a seminal role in defining tomorrows' music today. Past production/remixing projects include: Public Enemy, David Bowie, Orbital, Nine Inch Nails, David Byrne, Bush, Depeche Mode, and Tower of Power.

Tour Dates

Feb 2 - Seattle, WA EL Corazon
Feb 3 - Portland, OR Peter’s Room Under Roseland
Feb 4 - Vancouver, BC Venue
Feb 9 - Los Angeles, CA El Rey
Feb 11 San Francisco, CA Mezzanine
Feb 15 Denver, CO Summit Music Hall
Feb 16 - Chicago, IL Bottom Lounge
Feb 19 - New York, NY Santo’s Party House

The Church return to the USA for the "Future Past Perfect" Tour

Performing Three Classic Albums: Untitled #23, Priest=Aura and Starfish In Their Entirety In One Night!

Back Catalog Albums Reissued Through Second Motion Records

Following their successful "An Intimate Space" acoustic tour this past spring, the church return to the USA for their "Future Past Perfect" electric tour. This unprecedented touring event continues their 30th Anniversary celebrations by performing three classic albums in their entirety in one night: Untitled #23, Priest=Aura, and Starfish, three decades of the church in selected cities across the USA this coming February 2011.

Recently inducted into the Australian Rock and Roll Hall Of Fame, the band will begin the night in the present, covering the last decade with the critically acclaimed Untitled #23. Proceeding backwards into the '90s, they will then perform perennial fan favorite, Priest=Aura (an album not supported by a tour when originally released in the USA). And then, what better way to conclude the evening than with a performance of the all-time classic album, Starfish. These three great albums will be played in succession, live and electric, by one of the most inventive rock bands of our time.

Constantly releasing new challenging material, embracing their past and reinventing themselves in the present, touring across the decades, performing their music in a host of different shapes and forms, the church continue to evolve into a unique musical entity. This event is an experience not to be missed!

"Future Past Perfect" Tour Dates

Feb 2 - Los Angeles, CA. - El Rey Theatre
Feb 4 - San Francisco, CA. - Great American Music Hall
Feb 7 - Seattle, WA. - Triple Door
Feb 8 - Seattle, WA. - Triple Door
Feb 11 - Chicago, IL. - Park West
Feb 13 - Alexandria, VA. - The Birchmere
Feb 15 - Philadelphia, PA. - The Trocadero
Feb 16 - New York, NY. - Highline Ballroom
Feb 17 - New York, NY. - B.B. King's
Feb 18 - Foxboro, MA. - Showcase Live


Reissues of the band's early albums will finally be available in the USA alongside contemporary releases, all on Second Motion Records. Fully remastered with bonus tracks, the reissues will come in luxurious digi-packs with rare photos and exhaustive sleeve notes written by Marty Willson-Piper. Of Skins and Heart,The Blurred Crusade, Seance, and Heyday are available now. Also available is the comprehensive double CD compilation Deep In the Shallows, featuring liner notes from David Fricke of Rolling Stone. Watch out for more reissues including Starfish, Priest=Aura, Gold Afternoon Fix and Sometime Anywhere in 2011.

For more information, please visit:

Wednesday, December 8, 2010

LAMB - New album!

Photo by Max Michaels/NY

NEWS FROM: LAMB c/o Strata Music Ltd

It's been over 6 years since our official split in 2004. Back then it felt like we might never make another Lamb record. There were many reasons for this; for one thing we both wanted to go away and pursue divergent solo projects.

A big part of our need for escape though was the experience of making music signed to a major label that tried to direct and package music that was never meant to be anything but creatively free. Lamb was always about innovation and pushing boundaries without constraint. Somewhere along the way our path had become a little too straight.

Earlier this year Andy and I were talking on the phone; just catching up and chewing the fat. Andy was saying how he missed so much of what Lamb had been about. I guess I was a little more reticent, busy touring my solo acoustic project, but when he said to me: "Lou, give me one good reason why we shouldn't make another Lamb album" I really couldn't think of one.

So after all this time we're back in the studio and there's something fresh and new about the music we're writing. It hasn't been this way since we wrote the eponymous first album when we felt utterly unconcerned with what anyone felt about what we were doing. It was about the music and the journey it took us on. We always said we wouldn't make another Lamb album until we had something new to say. That time has definitely come.

The album will be called 5. (After all it is our fifth despite the break). From the 5th of December you can be a part of the process too. You're receiving this email because you've registered your name and we'd like to give you the opportunity to be there first.

In the age-old tradition of art we're asking for your sponsorship so we don't have to sign our souls away to some major corporation. By pre-ordering '5' you will be helping to make it happen. In return you will receive a special limited edition release of the record with additional songs and exclusive artwork in a hardback book version - to retain the albums exclusivity we will only be manufacturing the exact number of pre-ordered albums! You will also receive regular blogs and updates on how the record's going and, when pre-ordering, you'll receive a special download version of one of the new songs "She Walks" fresh off the press. Of course, since you'll be supporting the making of the record, you'll also get a name credit in the artwork and if you're amongst the first 250 to order you'll get a super-limited edition, signed print that we think you'll love.

We've been on the LAMB mailing list, so we got to DOWNLOAD the new song "Strong The Root" and it is just as good as the first time we heard Lou's sweet voice or Andy's throbbing beats. Thank you LAMB!

Now if you want to hear this stunning new track and support this new release go to