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December 2020

Heyoooo! here is the brand new SHADOW WOLF CYBERZINE ISSUE 9. This one was supposed to come out earlier in the summer but yeah things don't go as planned, I had a lot of stuff to do so we have, like every year, the new issue at Christmas! I will spare you the corona covid 'oh-what-did-we-have-a-though-year-talk' because that is for most of you pretty obvious, you might not want to be reminded I reckon.

I think we do have some 'funny' articles based on events evolving from the virus such as A SCENE IN SHOCK 'reports from the DJ frontline of the corona crisis' but besides that it is business as usual: Studio tips, poetry, lots of ASCII art, a DJ personality test with a newly developed DJ PSYCHOLOGY model from Dr.Nobo S. Spritzel. Also A HUGE interview with HUREN/David Foster by Ron Morelli, Specials on the German minimal wave band solitude fx, Washington D.C. funksoulsynth label P.P.U records, some simple but cool D.I.Y projects you can endavour on (an electro acoustic Kalimba and CHAOS GATE MIXER) and lots more!

Owyeah before I forget, we got something SPECIAL -> for the FIRST TIME EVER we got a "COVER TAPE!" a Compilation tape you can download digitally for free/pay what you want overhere. The physical tape will appear sooner or later in the shops too I am sure, I got them ordered already I just need to copy them. More info on this tape and the cool artists that contributed below!


You can find cyberzine back issues, sample kits, mixes, albums, software and lots more at www.legowelt.org

Thanks to everyone that contributed!!!


23 December 2020, Scheveningen Holland.


For the first time a real letter section! A letter section is great because the person who writes can't react to our answer so we always have the last word!

If you have any ramblings, questions and remarks we should know of drop us a line at Shadowwolfeditor AT g m a i l . com


Here is a pungent letter from Italy:

How dare you make fun of our techhouse scene in your stupid christmas magazine which is really shit. We have the best DJs you are just a frustrated and jealous dilletante!

IUTP Italian Union of Techhouse Producers

SW: I presume you are referring to our 'Confessions from Club Promoters' article regarding M.Lamborgini and D.Macaroni in our last issue. You will be excited to learn that we made some more fun of minimal techhouse, scroll down a few pages to read our new 'From the diary of a techhouse producer", or should we have called it "diarrhea from a techhhouse producer"??? SW


Here is an uplifting letter all the way from the intriguing Channel Islands, we found it so intriguing (or disturbing?) that we gave it the 'Letter of the Month' honours:

Dear Shadow Wolf,

There might still be hope if we mildly chemically microdose/lobotomize all stupid people (climate deniers, MAGA supporters, religious fundamentalists, evangalicals, Louis Vuton bag users, Flat Earthers, antivaxers, shallow Instagram Influencers among many others) give them a megadose of mood lifters and let them roam around freely on a closed off island were they can eat bacon flavored synthetic nuggets from automatic food dispensers shaped like Jesus or whoever their delusional savoir is. When the weather is no good they can seek shelter in giant sheds were they can watch Star Wars & Tom Hanks movies projected on an enormous screen. And so they can roam around happily and free in a pastoral garden of eden while they don't interfere with the workings of the real world.

Talking about the real world...another option would be to give them virtual reality helmets, feed them an unlimited amount of those Synthetic Bacon nuggets porridge mixed with Diazepam through feeding tubes so they become giant vessels of lard and let them be sour and dumb as much as they want in their own virtual world. That makes you think of a rather shocking realization...who knows we are already in a simulation set up for stupid people by another reality where civilization was fed up with their antics. It will be like an Infinite Matryoshka doll of inbred stupidity realities...quite an existentialist nightmare!!!

Mortima Eggberry, Gorey - Jersey UK

SW: Well Mortima, first of all these seem excellent ideas at a glance, but who will decide who gets lobotomized or not? What if I or you, in a hypothesized circumstance, have to accidentally use a LV bag, perhaps when you are carsick and need to puke into something and that is the only one available? And which island do you have in mind? I would like to propose Ibiza. Also a horrifying prospect that we are nothing more but mere giant heaps of lard living in a giant illusion...but then again synthetic nugget feeders in the shape of Jesus might be an excellent idea to upscale that giant puppetshow that is religion to a new level...



a heartwarming letter from Cornwall:


I am a newsagent from Swanpool Cornwall. The other day a customer came in asking for a copy of the Shadow Wolf Cyberzine because she had heard it was WILD and all her friends read it from front to back. I told her 'That's only on the internet love, in cyberspace for people with computers innit' I asked her 'Why don't you buy a copy of DJmag instead' but she said nobody reads that, 'its soooo square'. And then I thought about it and indeed I have never ever sold a copy of DJmag in my 35 years running this newsstand. I heard once that a hairdresser in Portleven buys it for his customers reading table, but if they really read it...maybe they just look at the pictures...I don't know! As you are in the know of the magazine business could you maybe enlighten me whats the deal with this mag?

SW: The solution to this mystery is simple. The only people that buy DJmag are the people that have been featured, reviewed or whatever in the given issue. They buy it to show to their mum, spouses or an (often hopeless) object of affection. I guess there are not many DJ's or producers in your lovely village of Swanpool and that might be good thing! I must admit that I once bought a copy too when I was interviewed by them just to show to my mum, then I hid it in the deepest crevices of a closet...its cover with an eerily photoshopped portrait of Afrojack is truly one of humankinds most horrifying artefacts and apart from my mum I rather would not let the world know I was in DJMAG! SW


This is the first time the Shadow Wolf cyberzine comes with a 'cover tape' a compilation cassettetape/digital download with various artists

spanning the shadow wolf cyberzine-o-sphere.

Back in the day magazines (both music and computer) often came with a 'cover tape'. A cassette tape full with music or software.

The real physical tape will be out soon but for now you can download it for free at my bandcamp page HERE


Here is the tracklisting with info about the aritsts/tracks:


The misfit duo from The Hague cuts deep into your anima with this huge scumtronix anthem. Its like Autechre's Basscadet crossbred with S.P.K. but completely on its own terms, like if your synths are in a volatile hostage situation and you better develop some stockholm syndrome to cope with it all!


A great track from this supercool minimal synth wave band from Würzburg. Check out the article below about them in this issue!


A few years ago DJ Overdose made an excellent album on Giallo records called 'Further From the Truth'under his HAEX-HRLL alias. Some more of this stuff right here.


A reality check for all dabblers who call themselves 'electronic composers' these days. Pinch the bubble of your delusional grandeur and realize that you don't even have 0.000000001 % of the brainpower of J.S. Bach. When you think your deconstructed 3/16 A.I generated 2 chord loop is academic...well, get real and come back when you can make something on this level.


Entirely made on the excellent JVC KB700 keyboard synth, an early keyboard workstation from 1981. The tune is a cover from a legendary commodore 64 DRUID II computergame soundtrack, originally composed by the illustrious M.Hanlon. It became famous and even more legendary when it was used as the music in many cracktros from the FAIRLIGHT warez cracking group. FAIRLIGHT SADDAMS WORST NIGHTMARE!!!


A most excellent dreamy track from Andre Edwards Roderique from Toronto, the supersymphatetic master of deep melodic techno and avid fan of 'Neverending Story' which was the influence for this particular track.


London Global Warming label boss Franziska Lantz blankets us with some industrial wooleyness! Check out the cool interview with her in last years issue!


L.I.E.S records boss Ron Morelli sits behind his boxes of insanity. Stirring in a cauldron of crispy, fat despair I am sure.


A track from Jimi Hellinga's archive from 2003. 'I didn't have a sequencer yet so I handplayed this on 2 Korg MS10's over a TR606 beat, the snare sound is triggered but it comes in too late because I didn't know the trigger had to be inverted for the MS10'...well thatsexactly how we like it!


…was the name for the area of the Netherlands back in Roman days. Dim witted Casio CZ Pro One music for a dancefloor

full of drooling imbeciles...which is almost always any dancefloor to

be honest ain't it!?!?!


Rotterdam based Puck Schot mesmerizes the listener again with her freaked out wondrous poetry and commanding electronics! Check Shadow Wolf Cyberzine issue#8 for a full interview!


We areproud to have a track from Zhark records affiliate David Foster. Hear how he roughs it up with this wild ear massage. Chomping biting gnaweling total awesomeness!!! Check out the huge interview with him by Ron Morelli further in this issue!!!


Hypnotic synth tones with a schubert-esque tonality on an Oberheim and Bassstation.


Classic tune from Chupacabras - played in many clubs the past few years - but never released until now!


Computerdisco plays around with his Jasper WASP clone.


A cool electrotrack from Amsterdam.

check out Ynter's bandcamp here!


"A Neighborhood Where You Might Live I" SW 2020


the yamaha psr6100 as used by solitude fx

Its around the year 2002, I still live in my parents house and mostly spend the days drinking mint tea, eating cheese Cheetos and playing Silent Hill II on the XBOX I bought with my royalties from my Disco Rout song.

One day I got an envelope in my mailbox containing a bunch of CDR's I would pleasantly listen to for years to come, I think I even made a remix or something but in the haze of the cheese cheetos MSG fermenting the brain the memories are vague...

We return to 2020...almost 20 years later and I stumble upon solitude fx's bandcamp and every release is totally FREE.

First let's do a sonic introduction to solitude fx.

Here are a bunch of my favorite solitude fx tracks with audio links:


click here to listen

This is proto solitude fx, recorded under the endphase name. It sounds like the lyrics are 'All I am is a satanic man' instead of synthetic man which makes the lyrics even more awesome. Absolute &@#*&*@& ANTHEM for complete club control.

COMPUTERSPIELE (Featuring Newclear Waves)

click here to listen

Meandering but also extremely catchy, above mediocre in the first few minutes - but then the breakdown melody comes in, and it hits perfection in all its simplicity. Also cool vocoder sound!


click here to listen

Creamy thick synthbasing and a 'Tränental of Leidenschaft'only the Germans can cry out.


click here to listen

Majestic almost Memphis rap style slow burner with exstatic waves of buzzing synth goo...also notice that cool beat with exotic snares.

There are lots more cool tracks on their bandcamp!

I also wrote Marc Schaffer, one half of solitude fx, a few questions via


Who is in Solitude FX?

solitude fx (it is written in small letters only) was founded by Marc

Schaffer (synths, drum machines) and Orpheo Weidelt-Baur (lyrics,

vocals). Orpheo also played synths on the sessions. We had two

short-time female singers but it was always basically just the two of


What are they doing in 'normal' life?

I (Marc) studied biology and work in the field of microbiology / molecular biology. Also I run the record labels Anna Logue Records and Nadanna. I plan to set up my studio soon and record music again. I watch my health by doing lots of sports and a vegan diet. Orpheo studied art

education and is working with pupils and lives a rather quiet life now

together with his wife.

When did solitude fx start, where are you based?

Probably somewhere around the year 2000. We were already trying a few

things earlier with school mates and friends, but with acoustic and

electric guitar, recorder, flute, keyboard, etc. A rather Current

93-influenced sound. I had started working with synths earlier and

recorded some stuff as Endphase. Our first gig in 2002 in then my

living room was showing the transition where we had a first set based

on an acoustic instrumentation and a second set based on electronics

only. We were based in Würzburg, Germany, where Orpheo still resides.

I moved away in 2007, to Greifswald, Germany.

What gear do you use?

Endphase and early solitude fx material was mostly just a Yamaha

PSR-6100 keyboard (which had a sequencer though and drum programming

possibilities, "Synthetic Man" was done mainly on this one!), Korg

Poly-61, Kawai K-1, Casio VL-1 and Roland TR-808. I had acquired a lot

of stuff over the years, so you can hear all those classic drum

machines like the Boss DR-55, Roland TR-606, Roland CR-78, Korg

KR-55/55B on some recordings, as well as switching to Roland CSQ-100

and SH-2 combo later then along with some other classic synths like

the Korg MS-20 or Yamaha CS01 and strings synths like the Crumar


Whats the current situation of the band, Is there new material

coming out?

We've been dormant and not recording for years. My studio's been down

for years now. But I have a new space now and will set up a studio

this year.

Just for reference how would you describe the style yourself?

(Minimal synth, minimal wave, synth pop etc.?)

Probably minimal synth pop. In fact in addition mostly with a huge

demo character. Most of our songs are just recorded ideas with vocals

put on top. There are only a few tracks that were really thought

through, structured and multi-tracked. But we -and also some people

out there- seemed to enjoy the minimalistic and honest nature of those

recordingss, so we just kept them as the were.

Thank you Marc, looking forward to your musical adventures in the



How to build an electro acoustic Kalimba

A perfect instrument for getting haunting ligotti-esque satanic music box sounds, as used in the latest Zandvoort & Uilenbal album

(listen to the sound in 'Always a nice story before bedtime')

A Kalimba/Mbira is an African musical instrument, a 'lammellophone' consisting of a box with a number of thin metal plates ('tongues') on which you can play melodies.

An 'electro acoustic' version is truly the most simplest thing in the world to make:

you will need:

Tape the contact mic to the upper part of the kalimba, below the the steel rods so its not in the way of playing.

Connect the plug into your mixer or pre-amp or whatever and you are ready to go! you probably have to pump up the gain a bit, put some effects over it (Spring reverb, a bit of overdrive/distortion with delay is most excellent for this sound) and start playing!!!



It is with crystal tears of rain that an international community of fans mourned the passing of legendary synthesist and electronic producer Pauline Anna Strom, known as the Trans-Millenia-Consort. Her music is reflective of her elusive alias, transcendental in every way, opening portals of ancient wisdoms which she channeled through a Prophet 10, Yamaha DX7, E-mu Emulator and Yamaha CS-80, bringing never-before sounds to life in the company of her beloved pet iguanas Little Soulstice and Ms Huff. She released seven albums – mostly limited cassette tape release – which remain however nearly impossible to find. In 2017 RVNG Intl’ released a compilation featuring tracks from 6 out of 7 of her albums - Trans-Millenia Music - which received a 2020 re-issue. After a 30- year break from music producing, after having sold her gear because of financial difficulties, Angel Tears in Sunlight is a new album to be released on RVNG Intl in early February, available for pre-order on bandcamp. Part of the proceeds of the sales will go the Iguana foundation. Safe travels, Paula, you are dearly missed and your legacy will never die.


RON MORELLI INTERVIEWS DAVID FOSTER: Memoirs of a techno vagrant

A stream of (un)conscious conversation with David Foster aka Huren, Teste, Zhark Records, by Ron Morelli

David Foster has lived many lives, some by circumstance, others by choice. Hailing from Hamilton, Ontario, Canada Foster was part of the short lived, cult techno group, Teste, and produced the 1992 classic "The Wipe" on Ritchie Hawtin's and John Aquaviva's Probe Records. The group's quick demise led to Foster leaving to New York City where he linked up with Patrick and Rachael who formed the infamous high end/lo-fi Motorhead driven squatter techno label Zhark Recordings. Foster's project, Huren, took what he did in Teste and shattered it to pieces.

Ron Morelli caught up with Foster from his Berlin apartment and discussed what its been like to be a "Techno Vagrant" for the last 30 years. Teste's new "Graphic Depictions" LP will appear on L.I.E.S. Records in the near future.

RM: I am sitting here with David Foster, Dave has had a long career in the world of electronic music, he’s done many projects: Teste, Huren, , Opgang 2, OH and probably a handful of others that I am not listing.

Today we’re just going to be having a conversation with Dave and talk about his weird and strange journey, which started out in Canada, went via New York City to somehow ending up in Berlin. It all starts in the early nineties and I am sure even if we really want to get technical in the eighties. Dave thanks for sitting down with me today to have this conversation.

DF: Always a pleasure.

RM: So basically I think what I want to talk to you about is your early times making music and coming up in this strange electronic music scene in Toronto, right, because you are from…

DF: It’s Hamilton, actually. The Hammer.

RM: Hamilton is like a suburb of Toronto or something like that?

DF: They call it the GTA, Greater Toronto Area. Now it’s sort of like Toronto “light”, Toronto is so over gentrified now that people come to Hamilton to gentrify it, that’s when I left.

RM: Alright, so you are growing up there, you’re a young man, you’re a teeny bopper going to sock hops?

DF: Yeah, right...looking for transgressive shit, but something did not click with the rest of the gang there, you know. Hamilton is an odd city because it has a strange sort of music history, because you know Brian Eno lived there for a bit.

RM: So, I don’t know this, why don’t you tell us a bit about the music history in Hamilton and then your involvement in the various scenes there.

DF: I don’t know why Eno was in Hamilton, I think he has family there. It was always in the mythology of the city, you would hear about how Brian Eno used to wear his bathrobe on the bus. And David Byrne lived there briefly and Ian Astbury from The Cult...these are the bigger people. There were always rumblings when I was growing up...I would hear about all the shit that happened, like U2 would be taking the bus from Toronto to Hamilton to get flights and people would see them there.

There was a bit of a punk background because a lot of the bands there like Teenage Head and Forgotten Rebels, they’d go to New York and play CBGB’s and become friends with the Ramones and so there was a bit of a cross-pollination there in that way. There was a bit of a lunch bucket punk rock scene there with some arty, esoteric music. And then Grande Avenue studio is the famous recording facility, which I actually only ever visited once strangely towards the end of my time in the city. It was the guy who ran the place that told me they had just stolen all of Eno’s VCS synthesizers. Shit! that was all in there. I wanted to see his Putney Synthesizer that he used with Roxy, but it is all gone.

RM: How did your path in music start?

DF: Just as a kid staying up late watching TV, to be honest. My first exposure to Cabaret Voltaire was seeing a Sensoria video as a kid staying up late to watch, just as the Canadian MTV started, it’s called MuchMusic. There was Mordicai Richler, the author, his son Daniel Richler, who I actually credit to exposing a lot of music, he would always have some interesting guests, he would have Throbbing Gristle on, or the Mary Chain when they were good... Cabaret Voltaire, there was always a sort of interest in that music.

RM: So this is almost a Canadian version of MTV's 120 minutes, but maybe this is more subversive, because I don’t think Throbbing Gristle was ever on 120 minutes, not that I know...

DF: It was probably Chris & Cosey, I might be getting that wrong, right, and I know for sure Psychic TV was there, because I became friendly with Fred Giannelli years afterwards, so.

RM: And they also have one really big hit at some point. I forgot the track but it was that really big one right.

DF: TG, Hot on the Heels of Love?

RM No, no Psychic TV, so that could easily been.

DF: Ah yeah, God Star, I think.

RM Right Godstar exactly, it is a cover right?

DF: Yeah. That really blew my mind. I think it’s obvious that Cabaret Voltaire influenced what I do, and that Sensoria video it’s still in my head all the time....it’s still like just an eleven year old kid seeing all the crane shots it’s just like (laugh), you know, later on in life you realize the song is about doing a lot of drugs. The underlying subversive thing, and from that, its good to have those initial things to start exploring deeper, and think, where does this come from, nothing ever really comes out of nowhere...


RM: You’re a drummer so I would feel probably you are maybe playing drums in bands before you got into the heavy duty electronic stuff?

DF: Yeah, because drums was actually what I was formally trained on, so my drum teacher was part of Hamilton philharmonic and he had studied under some famous drummers.

RM: So you are a real drummer with a real drum teacher, not one of these basement garage rock guys.

DF: Yeah it was not blast speed, it was trying to learn some jazz technique, but I don’t know...maybe it was ADD, everything is over diagnosed now, but I could not really focus on and stick with it.

RM: Yeah, it’s called being a kid.

DF: So I was thinking, why I am learning to play this stuff that I don’t actually like to listen to. Years later I found the kind of jazz I wanted to listen to, but that was just like sort more traditional stuff, like Dave Brubeck and stuff like that. You did not get to Sun Ra, when you’re 10, some kids did, but I didn’t.

RM: I don’t know anyone 10 years old listening to Sun Ra, ever.

DF: I Just tried to find musicians to play with, it was just shitty high school rock bands, playing Joy Division covers, Sex Pistols and stuff, its terrible. That is where the disillusionment came from, I couldn’t understand at that point, why don’t people want to do something serious, people just wanted to fuck around and look cool.

RM: As rock and roll is lot about how you look..

DF: Right...it was not going to work, getting people together for this. And then, around that time at high school I was exposed to more industrial electronic stuff.

RM: What years are we talking about now, just to establish a little bit a base?

DF: Just maybe about 88.


DF: So, 88 was when I was getting really sick of trying to play high school bands, I was like 16, 15 I don’t know. And then my friend Thomas who is kind of still in Teste... we were in high school , Teste was a kind a high school thing and then we involved this other guy, Himadri, so originally a trio.

RM: So Teste starts really in 1988 - 89 somewhere around there.

DF: The idea for it started around 90, 91, right at the beginning of 91, I think in the 3 years of high school we just listened to as much industrial music as we could. Tom, his father was a professor, he went to San Francisco during one part of the semester and then it was pre-internet, so, we used the send each other audio cassette tapes, be like, hey! I am listening this Killing Joke record or hey you should check out this new beat shit. Every month, we would send cassette tapes in the mail, recording records that we just bought, and he had access to cool music shops in the Bay area.

RM: At this point did anyone have any type of equipment, drum machines, Commodore Amigas, or anything like this?

DF: That’s not a cool story...I asked my mom to buy me a Yamaha keyboard at the mall (laughing).

RM: I think that a lot of stories end up starting out like this.

DF: So, the local shopping mall had these, it’s funny, I actually wish I still had it, because it was a really nasty FM synth, the Yamaha PSS-480 which was like the Casio like home keyboard equivalent of the DX-7. That would be probably my first synth actually, I think, and later on I learned that Stereo Lab and Broadcast used it, it had some cachet to it.

RM: When you get this synth, are you like what the fuck am I suppose to do with it...how do I get this to sound like these Wax Trax records, how do I do drums, were you thinking...now what?

DF: Well, it was quite small...it’s funny because it was kind of the equivalent of those (organ beatbox rhythm) things that Suicide used. It had the accompaniment like it had a rock drum beat.

RM: So you got this synth, you got these two other guys with whom you are exchanging music and figuring stuff out with, and your mind is being blown by hearing all this kind of new stuff...

DF Yeah like Front 242, Frontline Assembly, it’s just kind of funny now, years later being in contact with Rhys Fulber...oh I grew up listening to that shit, and now we’re friends, so that’s cool. The thing I like so much about their career is that it veered off in different directions, that’s why I look up to Richard H.Kirk (From Cabaret Voltaire) a lot, he developed, he did not just stuck in the same place all the time. Around that time, we were just teenage kids, you had to sneak into clubs, because of the ID. So we would just wander around depressed... we would do all bad shit that I won’t get into… (laughing)

RM: I can imagine what it is.

DF: So yeah living the industrial life, right (laughing). But, then we started hearing his techno shit starting getting big, and oh my god there’s this guy in Canada which is actually really popular, let’s go listen to him.

RM: Before we get to this guy who is popular in Canada, what is the first techno stuff you guys are hearing and how are you hearing about it? Is it on the radio, or is it just in clubs?

DF: I heard house and Chicago tracks, probably when it all came out, they are like 88 right, like Adonis and that stuff. I remember this really dreary... that one of the first clubs that I went to in Burlington, its Club Stars, in which this serial killer used to go, so it is like it’s always had a weird connotation about hearing a lot of the Old Chicago tracks, because I remember when I first heard them, I was hearing those in a club with that fucking serial killer was, you know.

RM: Was this serial killer working at the club?

DF: No, but he used to stalk, like prowl the place for victims, his name was Paul Bernardo.

RM: So you’re just hearing original Chicago house.

DF: Yeah, with Nitzer Ebb, because in those days...ah you know ...recently when I’ve been touring with Bestial Mouths, we’ve been playing goth clubs, and it’s so crazy because actually they are playing the same music that I first heard in clubs, it’s like the same exact play list. In those days it would be like they’re playing Joy Division and then they’re gonna play Front 242 Head Hunter. It may have been a little more creative in this club I went to because they would also play Adonis 'No way Back' or something. At least they were throwing something a little bit different in those days. For me it has always been proto-techno, sort of fringe techno, like Liaisons Dangeureuses and Depeche Mode it got me into that stuff...then realizing hearing how Detroit was quite influenced by it. There is this Depeche Mode the Shout Rio mix, from 1981...(listen here) you know that one? That was sort of a proto techno record those guys were influenced by. So, I think, this stuff is all tied together, and I live really close to Detroit, why don’t I go there?

RM: Did you go there?

DF: Yes, the first time I went was with Himadri and we went to the Detroit regional music conference (DRMC). There...holy shit...this is my music dream here! I met Fred from Psychic TV, Mad Mike, Juan... you know everybody was at these parties for this thing, it was the sort of the proto movement party.

RM: This is in a night club?

DF: It was spread out throughout the city, I think it was in the UR Underground Resistance warehouse.

RM: So what year are we talking now?

DF: This is actually right when Teste came out (around 1992) I am jumping over around a bit, so.

RM: Before you were saying you were starting to hear about this Canadian DJ guy who was playing techno in Toronto, and you guys figured we should go check this guy out.

DF: Yeah, actually I think we checked out John Acquaviva first, because, he was playing somewhere in Toronto.

RM: Some people might not know John Acquaviva, he was basically also a producer and DJ on the Plus 8 label.

DF: There was Acquaviva and Hawtin that ran it, at that point, and then there was Telenet, the blanket of distribution.

RM: Yeah, I think just some people kind of skip over it.

DF: Yeah, the history of Plus 8 is a little spotty.

RM: Then you check out John Acquaviva...

DF: Yeah he was friendly, and he was like, if you got a demo, give it to Rich because I guess Rich was playing in Toronto the next weekend. We were like okay, we’re going to ready, we will record this thing!

RM: Now before this demo, have you guys recorded other stuff? Did you have other projects? You recorded or played a lot before?

DF: We played just a couple of shows. In Hamilton there was nowhere to play, We had to play the one place...it was like a sports bar. It was for the goth people in the city...anybody who was an outcast came to the show.

RM: You are actually bringing all your gear, computers, drum machines? Like you got to get a van to bring all this shit?

DF: We did not bring out too many synths, because we used the 4-track. Then we played with Digital Poodle (listen), I think, and later on, Rich and I did a remix for Digital Poodle, they were quite successful in the early nineties, for EBM.

RM: They’re kind of a cult band, I think.

DF: Yeah, Heiki (Sillaste) runs a label I put out some stuff there recently, we remained loosely in contact.

RM: Cool. So you guys were like playing some gigs out and it’s three of you at this point.

DF: Three of us, yeah, and then the cracks were starting to show I mean like everybody, you know we’re kids, we’re all fucked up people, so, just all the fucked upness was going on in different tangents, then it was just like we all hated each other and wanted to kill each other (laughing).

RM: So, before that, you’re playing some gigs, you meet Acquaviva, he’s a cool guy and he’s telling you hey, if you got a demo, give your demo to Richie.

DF: And then what happened, well, I was so antisocial, I was so shut-in I couldn’t for the life of me socialize, I was like...'oh god, can you phone them?' So basically Tom phoned John and then they put us on the guest list for this rave in Toronto with Cybersonik, Dan Bell and Rich. So, we were working up the nerve to talk to them, he was really blowing up at that time. We thought we were just going to be these losers giving him a tape. But the funny story is that there was another Canadian DJ who was quite famous at the time, Chris Sheppard, he was the headliner and then Rich and Dan were opening up for him. We figured we’ll just try them both. Actually Rich was I think more successful then Chris at that time, Chris was a total idiot, he was just like 'get away from me' when we tried to give the tape...and Rich was like okay cool give it! He just said 'there just better not be any fucking breakbeats on it'(laughing). Because at that time Toronto was mostly drum and bass kind of music. So his story was that when they drove back from Toronto to Windsor he kept playing the tape over and over again.

RM: Your Demo tape?

DF: Yeah.

RM How many tracks were on the tape?

DF: Three, I think, so it is just The Wipe (listen here) and two others… I don’t think they ever saw the light of the day because actually I think they were pretty bad (laughing) and then Himadri and I went to Hawtin’s to do the final recording of the tracks. Actually the mix that everybody likes we recorded in Ancaster at Tom’s place, so that’s the 5am one that everybody liked, but it’s interesting when I talked to Surgeon recently he likes the Sonic Dub mix, that’s the one that he was hyping, and that’s the one we recorded at Hawtin’s, and they’re quite different. Now that I recall that record, it was just two versions of The Wipe and a kind of ambient track. So the record came out and we starting to see some buzz. I was 20 or 21, I was a complete idiot, we couldn’t keep it together... we played just one show in Scotland for Twitch, for Keith McIvor, and then we just broke up after that, because I was just getting too fucked up.

RM: There was one record, it was a hit back then, and then through the years, I would say that it has become this ambient dub techno cult track too...

DF: Yeah, it’s funny even Adam X says it’s kind of trancey (laughing).

RM: Yes, but it’s not though.

DF: No, no...but I know what he means, because its actually kind of Goa trance. One thing I will say about it, is that a lot of different styles of DJs play it.

RM: Right, I think, it’s a testament to the power of the track of course.

DF: It’s interesting, because there are some DJs that I know that are totally into that sound and wouldn’t like the stuff that I am releasing nowadays with you, for example.

RM: Sure, of course, they would shun that stuff I think. Sonically, I think it’s probably night and day from a lot the stuff you are doing now too. So you had this record, it blows up, but you guys were in your twenties, and like everything in your twenties, you’re not going to hold a band together, and then it essentially was a band with three people, so…

DF: And then it became two, and then it became like, fuck everybody, it’s over, forget about it. So, as I say, for me it ends at that show in Glasgow.

RM: So that was it, you guys broke up in 1994?

DF Yes, that’s what I mean, I was so deluded, it’s like we’re going to become stars...we’re going to become like Aphex Twin and all of this, and then, nothing (laughing).

RM: Right, I mean it was the classic thing of having a big record and expectations and then... reality hits I guess...

DF: And then it would be like, oh god Rich is not returning my phone calls anymore, oh shit, what’s going on haha.

RM: So, you guys became 'those guys on the label'...

DF: Actually, they stopped doing the label quite soon after that... the nineties ended it. Everybody went off and did their own kind of thing and that’s when I went to New York.

RM: So now, Teste is finished and you’re in Hamilton and you’re like I got to get the fuck out of here, I’m gonna go to New York City?

DF: Basically, yeah.

RM: Did you know this ahead of time, or did you think, I’m packing my shit and getting out of here.

DF: Well, it was fortunate because Patrick, Kareem from Zhark, he was actually going to NYU at the time.

RM: Ok, I just want to establish this. Patrick, did you know him? Is he Canadian?

DF: He’s German.

RM: How did you meet him?

DF: He is an interesting guy, basically, he’s a German guy that was going to school in the States, he went to NYU, and he just liked to go to techno parties. He missed it from Berlin because he was going to Tresor when it opened, and all the legendary stuff here. He was like, I hope this stuff is in America (laughing), so, he was in New York and then he would come to Detroit and then I met him at a Detroit party through Rachael (Kozak), AKA Hecate,

RM: Ok and Rachel was from where originally?

DF: She is in Detroit.

RM: So now we have this Patrick who is a German living in New York City going in NYU, Rachael who is living in Detroit and you living in Hamilton.

DF: It was the way it was in those days, you had to travel to see this stuff, because there was not much locally.

RM: Right, it was truly underground, it was a mission to find it..to get there, to be there. I would remember friends of mine always traveling to go to raves for the weekend, usually it would be longer then a weekend and I was just...repulsed by it all, I was like no way, I’m not getting in a car and drive 5 hours to Buffalo to go to a rave...to be cold and on drugs and having that pounding music, no fucking way man.

DF: Yeah, it’s harder now at our age to see the appeal of it, but I mean those days it was so life affirming...

RM: Sure, it was a truly renegade thing, now it is absolutely commercialized, and back then music was actually being developed as a result of these kind of parties, people were making music to play at the parties, ideas were kind of spawning from doing this stuff, and it’s not to disparage now...but now, kind of anybody can do it and there’s no journey. Silly as it sounds, but there isn't a route leading up to it, you can just one day snap your fingers and decide I want to do this, with very little effort and probably be able to do it and immerse yourself in it, whereas, these other times...I think, it’s probably why also your friendships with these other like-minded people were probably even stronger, because you had to go out of your way to make something happen almost, you know?

DF: Yeah. There is dedication to it, there was some enthusiasm... because it was a big deal, it was like, we’re gonna actually do this now. It’s not just sitting around and wait for it to happen. And it was exciting to hear somebody’s records when they came out, like hearing some of the Basic Channel records for the first time, even I heard them when they came out, but the context appeared later, but like the Chicago Jack stuff, just hearing that, it transports me to another dimension, still to this point, it is a different time...

RM: Yeah completely.

DF: It’s simple music, you know you’re doing some more strictly acid stuff, there isn’t much in it musically ..but yet, it creates something... right? I always like the quote by Mark E Smith, saying that rock and roll isn’t about playing instruments, it’s people mistreating instruments to get out emotions.

RM: Right, I think that makes perfect sense. So now, you decide to get the hell out of Toronto and you’re going to New York City and you already have this guy down there, Patrick, you’ve got a friend over there, you’re in touch with him.

DF: Yeah by phone, and I was like ah god I’d hope they’re not too fucked up to meet me at Port Authority (laughing).

RM: What’s year is it?

DF: This is ’95. Yeah, just over a year after Teste had sort of crashed.

RM: So, you jump into New York city in 95, which is still, the city is pretty damn raw, it’s not 1980’s raw but it’s pretty wild still, kind of anything goes.

DF: Yeah, for me, it was.. I took acid on the greyhound bus to New York. Here I am going down there, tripping, and I had probably like 5 g’s worth of gear with me.

RM: Under the bus, in the greyhound?

DF: Yeah, and then just hoping they were going to be there when I get there because I know they are party people (laughing). But luckily, they were there to meet me, but I will never forget stepping off the bus, and I was thinking wow!

RM: It just hit you. Had you been to New York before?

DF: No, that was my first time.

RM: So this is kind of the dream...?

DF: Yeah you know, but all I knew of New York was from movies, like Abel Ferrara shit...Bad Lieutenant and Driller Killer, I’m like yeah this is gonna be crazy (laughing). I was always looking for a weird connection. Anyway, those were like some of my New York imprint kind of things and the funny story is the building that I stayed in, do you know the building Zeckendorf Towers with the pyramids?

RM: Hum.. no

DF: It’s right across the street from the Palladium, Park Avenue. So anyway it was because Patrick, his family’s business is like clothing and fashion, they had some fashion industry connections, so that is how he got in that building and it’s just to say that Grace Jones lived in there, I never saw her, but it was like the building has like...the 'door guys'.

RM So, it’s a fancy building.

DF: Yes, it’s right across from Irving Plaza.

RM: Right, ok exactly, sure, and then of course I know it, I’ve been to Irving Plaza a million times.

DF: So, I was staying in there (laughing).

RM: So, you’re living there, in this posh building...you...fucked up techno punks, basically.

DF Yeah. you know this TV series called the Equalizer which was my weird New York kind of go-to memory...the last episode was filmed in that building...there is some useless information (laughing).

RM You saw it been filmed or not?

DF: No, but it is just a weird connection to me, like all the things that were my New York markers I kind of experienced Like going to see CBGB’s and for me, Liquid Sky was such a big movie and then to hang out at the Liquid Sky store (A NY rave subculture shop) when that was coming up. I can’t remember if I met her, but Chloë Sevigny did work there, right when she started dating Harmony Korine. And Patrick was letting Rachael/Hecate stay, it’s like he would just let everybody crash at his place, so it’s funny it’s in this exclusive building, Zeckendorf towers, but we would just like party like crazy at the place.

RM: And the neighbors, you guys are like partying hard there, or you keeping it respectable, were the neighbors banging on the door...be like hey, what the fuck is going on in there, or?

DF: I guess it was well isolated because, we were partying all the time and I would never see people. Yeah, that is a good point, I don’t think I ever really saw anyone next door.

RM: Ok, so. It is a bit mysterious then.

DF: Yeah. That was sort of my base there, because Patrick would just let me stay there, because he had to go back to Germany for some family stuff there for some semesters so, whenever he wasn’t there, I would just stay there.

RM: let’s paint the picture a bit more. It’s 95, you’re in New York city. There is at this point still tons of night clubs, but of course the disco era is long over, a lot of people have died from AIDS.

DF: Limelight was sort of the big thing at the time.

RM: Right, techno and house music were the music of the time, it’s in full swing.

DF: The club kid thing was there as well, I mean, it was just such darkness, they made the movie about it, did you go to limelight?

RM: No, I mean I’ve been there a handful of times, but not…

DF: I remember it, you could feel such a dark atmosphere there.

RM: Right, drugs are just running rampid.

DF: Yes. oh yeah...I mean, some people say Berghain took their cue from the Limelight...it was definitely a similar situation and experience.

RM: You guys are now going to all these clubs…

DF: Yeah mostly to Robots.

RM: Save the Robots, which is like..

DF: I can’t remember specifically, I think I went to Save the Robots and it became Robots, so, it’s like it’s changed, there was sort of a wilderness era there...when it closed, they knew they were being scoped out. It was tense in those clubs, you never knew who was undercover.

RM: Right, so now to paint the picture...Around 88 there were the riots in Alphabet city...they were trying to get the homeless people and squatters out of there and obviously that went really wrong and that kind set the stage for Giuliani to come in around that time...1995 there was another kind of big riot down there...were you around for this as well?

DF: It always seemed it was on the verge of a riot, I mean it was the first time that I’ve ever seen severe police shit. Like cops telling you to take your fucking ass off against the wall, I had never seen it before.

RM: They’re trying clean up the neighborhood after that, it is the aftermath of the eighties and the aftermath of crack. The city is grimy, people are running around, you could kind of still do what you want but they got this new mayor, and they’re saying, we’re changing the shit, this stuff isn’t going to happen. You got cops all around, but still there is this freedom and lawlessness that exists.

DF: Yeah, for me I remember seeing the old Times Square as well, yeah right before Disney got it. That’s maybe around 95...97, but I think it’s right when Disney really cleaned up all of the Times Square.

I remember seeing some of the 42 Second Street in all its classic grindhouse sleaze glory...

RM: Around then, thats when Zhark records starts?

DF: Yeah, we were basically like, we just got to try and do this. Patrick also wrote for a German techno magazine called Frontpage, which I think later became De:Bug. So, He knew everybody at the distributors and all the booking people at Tresor at the time... he was ready to make it happen. We just needed to do some tracks and he liked the Teste stuff, but I just wasn’t really in the head space to do anything, so the first releases were him and of Rachael.

RM: Did you all have a studio inside the apartment or was it somewhere else?

DF: Yeah.

RM: So it was in the apartment, so that was the headquarters?

DF: Yeah, I mean I think they were mixed on home stereo speakers, I mean, a lot of the stuff, like Teste the 5am mix we did on home HiFi speakers (laughing). We did not know any better (laughing).

RM: You see, this is the kind of stuff the kids need to be hearing, you know, you can still get a track sounding like Teste The Wipe on some Sanyo old home hifi speakers.

DF: Yeah exactly. And we did. I mean obviously as time goes one, people formalize, structuralize everything, right. Nowadays if I sent a track to a mastering engineer, it’s like “oh it’s not -6 db” and I am like, come on, does it really need to be!?!...do you want it to sound exactly like everybody else’s shit?!! Do you believe that? I don’t know....

When they did our Zhark mastering at D&M, I remember Pole, you know the producer Pole, Stefan Betke, he used to refuse to do it, that was when Rashad started working there, and Pole's like you do the Zhark shit, I don’t want to do it (laughing).

RM: So Zhark was shunned by the techno professionals, shall we say?

DF: It was and it wasn’t, I mean I think that they got it...but I don’t think they understood why we were trying to bring that into their scene.

RM Right. They did not see it as techno, they saw it as punk music or experimental electronics. When you guys were doing the Zhark stuff, was there any specific goal or influence when you said, ok, like I just did this Teste thing, I need to step away from what that sounded like, I want to just tear that sound apart and bring something new to it?

DF: I think it’s age related, also I am obviously obsessed with Motorhead and I was looking at it from the Lemmy perspective. It's kind of like...the Huren stuff was sort of my Motorhead attempt, you know, he formed that in revenge for being kicked out of Hawkwind, right.

RM: Right.

DF: So, Motorhead is driven on Revenge.


DF: So, it’s just like I was really pissed off, go full on. And then my thing was, and I still do it, is just not listening to techno music to make techno, right? So, it’s that simple, like you do it, it’s the one thing that I always found limiting about the DJ scene of that era as well, it’s just like people did not listen to that much other music besides techno.

RM: Right, I think that kind of stands true today as well, when you step outside of a certain circle of people, I think, it’s really much single minded there.

DF:I get it as well, like you’re immersed in the whole thing, but maybe you can settle a little bit of time aside, check something else out.

RM: To me it was always interesting when you’ll hear the original Detroit and Chicago guys mixing on the radio. The reason that all that music was so interesting and people always fail to realize this, is that they were listening to all this crazy stuff...

DF: Ron Hardy, everybody uses that example, he would play the b52’s and Fat Gadget and stuff and he would do his tape edits.

RM: They had this deep root in playing black music whether it was Salsoul orchestra, or a James Brown record, or something on West End. But then they would take also this crazy other stuff, like Electrifyin' mojo did, they would take this other side of really spaced out music, that’s why the original DJs all worshipped Kraftwerk, that’s why you would hear all the Chicago and Detroit DJ's play Liaison Dangereuses.

I think maybe people really forget about how special that amalgamation of all that being combined together was. To create the genre which is techno and house music, especially the Chicago guys listening to Italo disco, because you were getting Italo imports, coming in from Canada or wherever. So to me, that was always the real interest and I think as years went by with electronic music it got more streamlined and it failed, a lot of people failed to pull from these outside sources that made the original so interesting.

DF: Yeah exactly. Now, there is this idea about the selector, like selector culture, right, so, do you think that kind of relates to it a bit, like, I’m gonna go see Harvey play all these weird records?

RM: Yeah, I mean, I just, I don’t even think, I don’t even know if the context for now is even applicable because it’s so many goddamn DJs.

DF: There’s too much information, people are kind of too sophisticated now, right.

RM: It’s the impetus in reasoning for doing it. It's not the original reason for doing it.

DF: Right, creating emotion or experience.

RM: Yeah, it’s just becoming a hyper nerve fucking thing, to outdo the next motherfucker, a lot of it. It’s not about just playing really sick music to blow someone’s mind...and that’s always the thing that gets lost. The point of this is just to blow people’s minds and planting some crazy ass shit. I think now to me it has become absolutely completely uninteresting and it’s like jock shit basically, you know? I seriously would rather watch pro sports then some of these DJs’ play, I mean, at least I enjoy pro sports...going over a tangent here...

So now basically Zhark is starting and Teste is over and you’re like…

DF: I’m pissed off and fuck everything

RM: This is my punk project now, basically.

DF: Yeah really, just a full on experience...nihilistic everything ...making ugly music! It was really formative to me to listen to Motorhead as a kid, Overkill, for me is a benchmark...just a track with double bass beating your fucking head in. It’s kind of the beginning of thrash too, it has a thrash approach. And then obviously you put Napalm Death in there, just that kind of feeling.

I took that into scumtronics through scum records, there is just a feeling that record evokes that you just want to kind of put to a dance audience, or have a club audience accept this stuff, I guess now they can, but...(laughing).

RM: , when you were doing live shows what kind of places were you playing and who would come to these gigs and what were the reactions like at this time?

DF: Now it’s, well let’s face it, it’s kind of just people are

there for other reasons, I mean they are on their phone.

RM: No, I meant, back then.

DF Oh back then, oh.

RM Back then, you’re doing this in New York city, you guys are doing live shows?

DF: We had really good support with Con, Con is just a cool guy, like, you know he had his Temple shop and he did a night at Robots called Killer. He was like yeah just do it...he paid well and he was really cool about it all. And he’s like, we’ll just put you on early so not too many people leave (laughing). But people liked it. It was rough at that club in a way too, I mean that’s why they had a lot of security, I remember there were a lot of fights in there.

RM: It was in avenue B, third street, something like that, that’s kind of the heart of Alphabet City. You are getting a complete mixed bag of people, you’re getting punks, you’re getting drug freaks, you’re getting techno people, you’re getting neighborhood people, all kinds mixed in there ?

DF: The security in there was pretty intense so it was mostly techno people, it would be techno and some punks and some art people. I remember even Moby going, I think Joey Ramone went too. I can’t remember his name, who is that Scottish comedian, I think he was a security there. Craig Kilborn is that right? I mostly went to that club, And then I went to one of Adam X's raves, the subsonic groove thing too.

RM Where was that?

DF: That was Brooklyn. So, I did not go to Brooklyn much that’s the thing. It was really mostly Manhattan based, the only stuff I went into in Brooklyn was this stuff Soundlab, which was... you know this label


RM: Yeah.

DF: It was Asphodel, it may have been Bill Laswell, that’s the thing Bill was always kind of floating around that scene.

RM: Right, because he had his studios in Green point.

DF: Yeah, there was DJ Spooky. And then those guys took themselves very seriously, it wasn’t good. I think, we’re like...I don’t really think it’s worth going out there for, but then again, why not.

RM: I think, when you think of music that didn’t stand the test of time very well...

DF: Triphop...

RM: Illbient...The perfect example of music that should never be dug up, maybe only to be annihilated.

DF: Exactly, so there were some things that did not really work and then even Liquid Sky, like the store, you know, Temple was cool, but like, did you ever hear the label, it was not really good.

RM: No.

DF: Yeah, It kind of really was watered down drum and bass, triphop, and a lot of hippie themes.

RM: This drum and bass thing I never understood...

DF: It’s a UK thing really.

RM: It did not translate too well into New York city, I mean, I knew it was there, but I had little interest in it and again it seemed corny to me.

DF: I know and thinking back too, I remember all these weird people that I would meet too, they were like Warhol leftovers, like this guy used to hang out with Paul Morissey and, they would just go on about the Factory days and then you’ll hear other people that were left over stragglers from the no wave era and stuff.

RM: I guess, you still had a very colorful bunch of people running around.

DF: Yes, they were coming to the techno parties too. It was new for them and there would be drugs. They weren’t old enough to give up just yet. I remember I saw Moby at a few things, he’s a nice guy, I talked to him once, I don’t like his music (laughing). Or maybe he isn’t a nice guy, I don’t know, but I mean he was fine when I talked to him...

RM: Going back to Zhark, were you guys at this point informed about the The Hague scene because I feel like something like Zhark runs parallel to what they were doing in the Hague at that time, which was this kind of reactionary living in their own bubble kind of world.

DF: Unit Moebius I knew, it’s funny I remember I had that on CD...I never got it on vinyl (laughing). I wouldn’t claim that they were, like direct influences, but we knew there was stuff happening, something similar.

RM: When you guys are doing the Zhark stuff and making all your music, is there any kind of self-awareness there you are actually doing something that is absolutely going against everything what’s around you. Is it even like conscientious or you guys are just like...

DF: Yeah, because we just didn’t like a lot of the esthetic of rave or techno.

RM: So it was reactionary?

DF: We just thought rave and techno were kind of cartoony, we just didn't like the cartoony imagery and a lot of the mysticism around it. We just wanted it to relate more to the Motorhead or the Napalm Death angle. I wanted to make different music literally, it was just as simple as that. In punk music, they said that the whole idea was to be individual.

RM: Sure.

DF: If you’re making punk, why would you want to sound like the Ramones, there’s no point, they’ve already done it, so the whole idea was to like take the spirit but just put your own personality in.

RM: Making it all make sense, to you at least.

DF: Yeah, because, isn’t your goal as an artist to come up with your own expressions?

RM: Right, I think it’s important and it’s also...people fail to realize it’s like when you listen to a Huren record or Kareem record or Hecate record on Zhark...you can identify them. You did take it and made it your own sound , The same thing with the Bunker records from a certain era, you can tell, that’s like Legowelt from 1999 or Unit moebius from 96 or something like this. You can hear it in the sound.

I think that's what a lot of people are missing from what they do. You have to put your own stamp on it, that’s why, I was just wondering that.

DF: Those guys were hardcore too because they were like full on squatters right.

RM: Guy was yeah, and probably a couple others, not all of them. I also think as it is in The Netherlands...the term squatter is used in a pretty loose sense, because you can actually, or at least could...for a long time squat in a really nice building.

DF: yeah, they treat the artists so well, I love to play in Netherlands, it’s so great.

RM: But you know Unit Moebius was heavily involved with Spiral Tribe, doing gigs with them and even records with them together. So there was that kind, I guess, travelling techno vagabond, crust hippie shit, but like speed hippies, they were tied into it...I don’t know the specifics.

DF: I consider myself a techno vagrant, now I’m in Berlin for ever reason, I mean, I’m like, I’m not really established here right, so (laughing).)

RM: It's fair to say that you are a techno vagrant.

DF: Yeah, because in New York I was just kind of there, unprepared...

I think that’s been my approach just show up (laughing) and see what happens.

RM: So now, the label Zhark is pumping out music...

DF: By the time Zhark really started getting more organized with the releases, I left New York. The end of 97... I remember that feeling of leaving, it was so sad, I really felt, like oh it had changed.

I had exiled back to Hamilton.

RM: Ok.

DF: Because, I don’t know, I mean I think I’m like a lot of people when they go to New York, they think, we are going to go there and we’ll get signed, because people still thought like that in those days. We thought 'oh maybe some major label will pick it up' ...because, Hecate, Rachael was really driven that way.

RM: Right and it was really extreme music, so it is a little surprising

though as well.

DF: I think we were loosely thinking, in her influence, maybe we will catch it. In those days there was so much of a change....like music really was changing...people were looking for something new all the time, we thought there would be good chances we would be the next thing...

After a few years there I realized it’s not really happening. From there I went back to Hamilton and then I ended up in Europe. I ended up in Denmark, because, the other guy in Teste, Tom, he had left Canada at that time, and I just sort of, I think you can see I am sort of a nomad, basically like him and his wife had a flat in Copenhagen and she’s Estonian, so, they left to Estonia for some family stuff, so, I stayed there for a year or so.

RM Here you go. Then you are techno vagrant

DF Yeah, techno vagrant because I was just like flopping around to see where the hell else this thing will get me. I had such unrealistic expectations I don’t know what the hell I even thought, I just felt like, I just go to Copenhagen make this shit work somehow.

RM: And at the time, you are still recording now for Zhark, right.

DF: That’s when my Zhark releases actually came out, because when I was in New York, none of this stuff I did on Zhark came out at that time, so the New York Zharks were mostly Patrick and Rachael.

RM: Ok, but you’re recording and it’s just didn’t come out at that time?

DF: Yes. So, some of the stuff that I did live at Robots was on one of the Zhark CD's. One of my first record releases was what I first played at Tresor in Berlin and that was such a crazy experience too. Again, I mean now at looking at all, you are like oh is this guy like travelling and doing all that shit for this techno shit that I hear every week in Berlin or whatever. It wasn’t really like that on those days, as you know...if you wanted a real severe extreme experience, it wasn’t going to happen much, so, I just had this really odd focus of wanting to keep going further and further into that fucked up thing. So, I just kept going...like, well it’s not working in North America, let me try it in Europe, right.

RM Ok. And this is we’re talking about 2000s?

DF: 98.

RM: oh, 98, so you really went, you didn’t go back to Canada for all that long?

DF: No.

RM: You like dropped some shit of and then I’m like out of here.

DF: Yeah, so. That was my first European kind of stuff, and then those releases were coming out and then there was some kind of interest, but it’s hard to say right... I mean we were getting shows, but it was all a kind of a side show thing. I mean the show at Tresor was just literally by Patrick knowing the booker. They didn’t really want to do it though..

RM: You forced yourself in there.

DF: It was a Thursday night or something I don’t know, a Wednesday maybe. It wasn’t the main weekend times. I just remember that I played the Love Parade.

RM: Jesus.

DF But it wasn’t like on one of the floats, it was in this exclusive wine bar in Mitte.

RM: Ok. they would let you do that in an exclusive wine bar?

DF: Patrick knew his way around, he knew people, he always had something kind of going right (laughing). So, it’s strange, yeah, I mean it's all blurred, because I was still pretty young and partying all the time.

I was just...yeah makes sense, just try it, see what the hell is gonna happen. How I did it all in retrospect, I really don’t know, how did I pay, how did I live? I really don’t even remember. I mean, I made money with records and shows, but I didn’t know what I was doing (laughing).

RM: Well, you are still standing.

DF: It’s been crazy having the covid down time, just to look back at it all. I was so fucking gone, like when I look at it...I wasn’t operating in the real reality. Some other thing I was looking for...some personal businesses maybe, I don’t know. Who knows...it wasn’t really logical at all. I was bought into that myth like the really subversive artist, right , like Jean Genest, like the low life outcast.

RM: Yeah, truly living on the edge.

DF: I guess I still am, right, so.

RM: In a different form maybe. So now, fast forward to now you’ve been living in Berlin for quite a time.

DF: Yes, I outlasted Bowie that was my joke. And Iggy, they were only here four years. But, I mean like if I look at it to New York I was only there for 3 give or so, I mean it’s all timing right, you know, it’s like probably what brought you to Paris right, it’s timing, right.

RM: I don’t belong here whatsoever.

DF: Right.

RM; Just ended it up here, but if would you asked me 10 years ago where would you think you were gonna to be…

DF: Yeah, well that’s the interesting thing about it, then it’s interesting that techno is a part of that. People can piss on techno all they want, but it is really transcending, it’s one of the few ways to step outside of a regiment of existence, still I think, I think, I hope. God I hope.


transcription of interview: SLP

P.P.U - People's Potential Unlimited records special


A label from Washington D.C. USA that releases a microcosm of deep soul, electrofunk, minimal wave synthfunk, boogie space jazz, Lo-fi disco, prison rap and various connected styles, re-issues of 70's 80's lost gems and fresh new stuff on LP,s 7"s and tapes.

Here are 5 supercool tracks released on PPU records put in the spotlight:


listen here

Hailing from KALAMAZOO, Michigan. A wonderful deep combination of poppy soul funk, r&b and smudgy minimal synthwave - the latter mostly sounding like that because of the use of certain drummachines and homekeyboards.

Everything Dwight Sykes is crazy good so check out his other music definitely too!


listen here

A bit of a creepy love song, if I got this as a demo I might have alerted the authorities its so weird! Some snippet of the lyrics:

"Don't make a mistake, I'll be watching you

The life that you live, the friends that you make

Don't be afraid our love is here to stay"

The atmosphere is so strange, eerie uncomfortable, it could be basically about a stalker, maybe also not...who knows. But the music itself is so hypnotic and very intriguing. The beat, the ever repeating Rhodes riff, how stuff comes in and fades out again, that string on the background...It is by all means definitely a track to study deeply musicwise, because you will learn a lot.

And check that supercool videoclip


Listen here

Synthetic romance with lightly distorted analog drumbox and EXTREME gnawling groovey synthbassline. Add some laxative saxophone riffs (not too much fortunately) lush synth strings and cool vocals. 7" Very uplifting fun track! Re-issue of 1983 original on San-Ton records


Listen here

One of the earlier PPU releases, a re-issue of a 1982 original 7" on Style records. Real sleazy lo-fi funk with a touch of Italo vibes and Afro funk, especially when the organ comes in later.


Listen here

L.A. Club resource boss Delroy Edwards teams up with Benedek for an iressistable slab of LO-FI funk! Future archeologists will be puzzling about that drummachine.

This is just the tip of the iceberg of the vast P.P.U catalogue,

a label well worth doing some further deeep diggin into :)



This is a hypothetical design for a four channel random 'gate' mixer. using a box with strips of conductive silverfoil - 4 for the inputs and 4 for the outputs, each next to eachter.

A bunch of metal balls can roll around freely in the box and make random connections with the different audio signals when the input strips connect with the output strips.

There is absolutely no use for this I guess, except it will be fun and interesting for experimental music. You can also use it for CV/gate signals in a modular set up or whatever as a sort of random switcher.

You don't need any soldering or electronic engeneering skills to make this, just some silverfoil, tape, wires, audio plugs and a box...and ofcourse metal balls.

The result will be a strange conntraption you can shake around/tilt to get random short audio connections.

You can use any number of channels we just chose 4 because ...why not. It is possible to make it with just 1 channel but that might be a bit boring.

What you need:

Now you can put everything together according to this SCHEMATIC:

If you are a littlebit more tech savy you can ofcourse make volume pots/knobs on the channel so you can control the volume of each channel individually.


Dr.Nobo S.Pritzel is doctor at the department of Border areas in

Psycho-Hygiene at the university of Wurzelmännchendorf. Specialized in the mental health issues of DJs, artists and others in the electronic music related workfield.

He developed the Nobo S. Pritzel DJ personality test - a deep insight in the often mentally clouded psyche of 'these' people. Most probably that is YOU, so why don't you sit down and do the test and reveal your true self. Take some paper and a pen and write down the number that is before the answers you choose. At the end you calculate your score by adding all the numbers given before the answers.

Are you ready!?! sit down comfortably and let's start the test:

Those were all the questions, now add all the numbers before the answers you chose and see what score you got...



An aura of mysticism surrounds you, illusive with a sparkle of sinister life force. You are like an authentic cat evaporating in the shadows. You don't worry about anything and a great future lies ahead.


You are an adventurous DJ playing varied and intense sets. Not afraid of stepping out of the bandwagon. You can, or have already, achieved a certain cult status. You are pretty stable, though you might not know it.


You are curious enough to maybe find more interesting paths in your life quite easily...do just that and your future will unfold like a bold adventure!


You are truly middle of the road, the epitome of pedestrianism, you probably can't wait for the new Star Wars movie and think the Shawnsharank Redemption is the greatest movie ever. You have an IKEA Expedit shelving unit and categorized your record collection by color. Your mind thinks too much in boundaries. You might ponder that DJing a house record in a techno set is already getting really edgy. Maybe its time to expand your total self and have more fun in your life!


You are a bit extra bland. You think Kayne West is edgy music and a pioneer of hiphop music. To be around you is mind numbingly boring. But fortunately for you a large part of the human population is in the same category so you probably won't ever notice...


Upwardly mobile, seeking status everywhere. Unaware that your achievements are unimportant and most important of all, useless in a fulfilling life. Music itself is not really important in your career, its all about your prestige & prominence.


Though people treat you in a way that will make you think you're cool, its all a facade. They really think you are a sad excuse

for a human being and they are only nice because they paid a lot of $$$$$ to book you and don't want to piss off your agent. However, there is still time to change, its not too late!


You are truly an annoying dweeb, an exploitative sour rotten soul with delusional visions of grandeur and a god complex. Psychopathic tendencies run deep in your neurotransmitters. Trump would be proud of you! You probably DJ EDM music at plague raves.


"Turkish Van Cat in Empty Holodeck"

A SCENE IN SHOCK - reports from the DJ frontline

Disclaimer: The following article is meant to be satirical

The story, all names, characters, and incidents portrayed in the following article are fictitious. No identification with actual persons (living or deceased), places, buildings, and products is intended or should be inferred.

By your special reporter Jazzmyne Breitkopf

DJ’s are the first line of non essential workers in the corona crisis that feel the impact HARD. Like a modern jester that is thrown in the moat eaten alive by the castle’s guard crocodiles. Like a flattened squeezed out pop tart discarded on a rural side road. Like a faulty USB stick full of deconstructed club music edits left in a CDJ after a mediocre wedding party. The situation is GRIMM…

Do people still have time for their self entitled mumbojumbo on social media, what about their depleting frequent flyer status, airline lounge access, their drug fueled highs of euphoric spiritual enlightenment on a Saturday night before a crowd of binge drinking sophomores……

All turned into a desolate empty wasteland of nothingness

As the tumbleweed gently floats by Shadow Wolf checks out how some of them are coping in the CRISIS:

First Billy Bouffon aka DJ Plurrezebel. His agenda was booked well into 2021. Festivals were queuing up to book the highly socially political active DJ, but just like that they all evaporated into the bottomless pit of the Covid-19 virus.

Not traveling and having to stay inside for weeks if not months, he

had to stop his crusade against industrial cranberry farming. Not even because it might not be the time and place for such a thing now, with a food crisis looming every cranberry counts. He simply doesn't have the motivation.

He could only find solace in binge watching reruns of Friends and Transformers 2, his favorite movie. The humdrum was about to set in deeply until he got an email from a fast food company looking to do something edgy in these dark times.

His approach on the lockdown turned a sour occasion into an unexpected cheerful optimistic new opportunity:

“My weekly 10000 $ gigs suddenly stopped so I don’t have any income - patsboooom just like that! How can I pay for my living expenses now? Fortunately I got a deal with this fastfood giant where I get free burgers, chicken nuggets and larded bacon fries three times every day delivered to my house in exchange for making a podcast. All I got to do is eat the food on air while I casually DJ my collection of bloghouse disco edits mixed with 1990s Australian trance records. I put an Electro Harmonix Big Muff pedal on my smacking and gobbling sounds to make it more intense. Its a combo of ASMR & Mukbang...its a whole new undiscovered area of electronic music...a unique and exciting melting pot of cultures. Maybe it's something I can do in the clubs live when the Corona crisis is over, a giant Mukbang party together with the crowd. I see some great sponsorship oppurtunities here...move over Red Bull and make way for Transfat Burger corporations, official purveyor for the Mukbangs generation's food supply!”

Its a different story for Lionel Cassarole - better known as DJ BoboBinky and his collection of Luis Vuton handbags worth over 100,000$. He used to get paid hundreds of pounds to attend events and advertise on his social media accounts. DJing is not really a thing he actually did, unbeknownst to the crowd he would just stream some Spotify playlists from his phone, but that is besides the point.

"Everything has been cancelled," he explains. "Normally, I post pictures with my bags but nobody wants to see that at the moment…its so awful how I am going to survive this!?!”

In order to make ends meet he set up a crowdfunding campaign called #helpbobobinkeythroughcoronacrisis

When asked what the donators get in return Lionel replies “I had this idea of going through my wardrobe I make some pics and put them on instagram...I am sure that will give some hope and inspire people in this difficult situation”

But even with such an uncertain future Lionel refuses to sell any of his bags "they are my babies I will never get rid of them - what will remain of me without my bags? They are everything that make me who I am"

Last up we spoke with Londoner Merlin Copperfield aka DJ Pepe Paddington, a progressive deephouse artist who used to play every weekend in places like Ibiza and Doncaster before the crisis hit. He finds it difficult to cope with the new normal.

“Its hard not to be in the spotlight right now, no shows, no adoration

...nothing to feed my self esteem! fortunately me and my manager hired a PR agency to see how we could keep momentum and people will still pay attention to me”

Lysander Marmaduke of the Barbazon Communications Agency, who helps build profiles for artists, politicians and industry CEO’s, took on the case: After careful deliberation we decided that the best way to go for Paddington was to be a sort of spiritual counselor, giving guidance to people in these hard times. We devised that a series of tips how people can cope with the lockdown from the very personal experience of the DJ themselves would be the way to go. We let him brainstorm in his London apartment for a few days and then he came up with a list of Netflix shows and Playstation videogames people can watch and play. Brilliant!

He is so down with the people...such simplicity, nobody would have thought of doing those things in lockdown. People will be thankful for his efforts so his career can just fly off again in light speed once the corona crisis is over next month!”

Three different lives but all in the same boat sailing on the wild seas of the Corona virus. In the end the world keeps turning and we will persevere, as sooner or later the proverbial cat of society will land back on its feet...after a tumultuous free fall that is.

Jazzmyne Breitkopf


Some alchemical concoctions for further advancing the arts of

electronic music production


Record or program a pad/string sequence, making sure you have the MIDI notes recorded. Make it 4 bars or 8 bars, vague melodic elements, polyphonic, no lazy shit. You can do long notes like 4 counts or more each. Now just put an arpeggiator over the recorded MIDI sequence and change the pad/stringto a sound that is more fitting for an arpeggiator. Short bass/polysynth sounds. A lot of times this will

result in a cool arpeggio line, or at least something that will inspire

you to work a bit further from. You can use the original pad/string sequence recording to layer with the arpeggiator occasionally. And there you go...almost a finished track ha. Eazy does it.


Layer snaredrums and claps with other snaredrums/claps and synthesized noise sounds to get extra thick fat sounds. Move the layered sounds a bit, either forward or backward so they are not perfectly on the count. A few milliseconds or whatever works, use your ears. You can do that for each snare/clap count differently so you get authentic grooves that are not too boring and tight. Layer at least 2,

change the volume of each sound to control the dynamics of the total sound. Add some compression, filter envelope or discrete bitcrusher to the layered sound group to make the sound more 'wholesome'.

Just an example:


A little rhythm trick made famous by the late Edwin Birdsong on the Rapper Dapper Snapper beat. Reverse a snare/clap sound and place it before the normal snare/clap that comes on the count, like 1 count, a fw milliseconds, hear what works. You get this cool 'sucking' sound that announces the main snare/clap sound with some extra intensity. The reversed sound doesn't have to be the same as the snaredrum/clap that follows, experiment with different sounds!

CONSPIRACY CRUISE - cruise ships & Conspiracy theories mix well

By Chantilly Champignon

We are huge fans of Brad Abraham's documentaries, one of his most acclaimed, the 2018 'Love and Saucers' about painter David Huggins who paints scenes of his interspecies love affair with an extraterrestrial woman is a charming captivating portrait of an eccentric outsider artist.

Now Brad made his first short fiction movie and everyone should watch that one too...it is called CONSPIRACY CRUISE.

Back in the 1990s in the pioneering days of the internet the "conspiracy scene" was all cute, fueled by TV series like the X-FILES every computer nerd bathed in the romantic spielerei of the mysterious unknown. A world of intrigue and adventure lay ahead on the computerscreen soundtracked by the ghastly noises of modem bleeps and IDM. We all wanted to be the superdorks of the Lone Gunmen hacking UFO documents from some government database from our cyberpunk bedroom.

Enter 2020, conspiracy enthousiasm is associated with a bunch of very scary people. Annoying at best but overall extremely dangerous. A festering petri dish providing a gene pool for Trump supporters and anti vaxxers mixed with racial hatred, drinking bleech and the corruption of wisdom we have so painstakingly gained in our history. They are ready to throw humankind back to some dark age were science and objective thinking has no place. Conspiracy enthousiasm is all cool and cute when its low key and well into the boundaries of common sense...but when it influences the well being of us all its a whole different story.

Let's mix this with another puzzling aspect of our current civilization:


Giant floating shopping malls where larval consumers are fed unlimited all you can eat sludge while they gamble, get drunk, sloth around, spread diseases and pollute our environment. Cruises are an insult to life itself and let's all admit that we watched the early 2020 Corona cruise stories unfold with a sense of sinister 'schadenfreude'.

Combine these two things together and we have a narrative winner for

a short fim. Enter Brad Abraham's CONSPIRACY CRUISE. Go watch it here for free: here https://vimeo.com/413682378... it is a lot of fun!!!

Let's hope Brad makes more movies, docs, fiction whatever its always a winner!!

Chantilly C.


As you might well know tech house is the most boring music style in the universe. Everything is BLAND about it, also the people behind this uncultivated lackluster monotonous soulless music are of such an apathetic nature that even 20 seconds in their vicinity can cause extreme ennui.

Our North Sea Institute for the Overmind Special Counter Intelligence division managed to get hold of a diary of such a person. We can not disclose who this person is. It remains also top secret when it was 'retrieved' and where....but one thing is clear: It gives a truly shocking antropological insight into the mind of a techhouse producer, the words speak for themselves!!!

....here is a page of the diary of an anonymous techhouse artist:

8 march 2020

10.45 AM Woke up and checked my Instagram. Need to think of new Instagram photo subject for today. I remember my dream...I was DJing before a large crowd and had no pants on and my USB stick had 300 mp3's which all sounded the same, the tracks were oddly named techhouse 1, techhouse 2,3,4,5 and so on. What is the dream trying to tell me?

11.27 AM Coffee and quiona flakes in goat yoghurt. I ponder about the day ahead...another challenge. I got to push the sound forward with new angles. How do I get the best of both worlds....that dynamic texture of both TECHno and House....techhouse is truly unique I sigh...and nod my head horizontally revealing a vague smile.

11.35 AM Before everything my hair. If your hair is good, the rest of the day will glide by smoothly. I comb it, put on some hairgel and it feels right. A bad hairday is a bad life day. Maybe THIS right here is the Instagram photo moment of the day with that deep motto I just contemplated...perfect for my 120 shallow followers. But somehow I feel, or I know for certain, that a more glorious moment will come today...something that will catch more likes and maybe even new followers.

13.00 PM In my studio. Like any Techhouse producer my favorite brand is Behringer. Its character and unique social aware branding fit perfectly with our sound and scene. Behringer just breaths TECHHOUSE in all its machines. Maybe I should make an Uli Behringer tribute album...or at least a track to show my appreciation...he is truly our Jesus. I nod my head once again and smile.

13:55 PM ACTION TIME. I load up my copy of Magix Musicmaker, the DAW of choice for us techhouse producers. Anxiously I open the MAGIX TECHHOUSE VOL.3 LOOPS folder I downloaded yesterday. So much choice..the possibilities are truly endless...300 loops I can combine! A quick calculation gives a possibility of 3250000000000000000000 different combinations. That means there are 3250000000000000000 new techhouse tracks I can give to the world! Its fascinating to be me.

14:00 PM I combined 3 loops, copied and pasted them after each other and hit the render button. The cool thing with producing techhouse is that you can make a track in a shorter time span then the track's actual running time. I don't even have to listen to it, just render and upload it to beatport. Life is good.

14:05 PM Logged in to BEATPORT - the techhouse nirvana, walhalla and heaven combined, the epicenter of our community. I can spend hours browsing all the tracks and let my mind be blown every time I hit play.

My dream would be a DJ controller from Behringer that automatically streams any Beatport track...only Beatport and nothing else.

Two giants, Beatport and Behringer melting together in one divine product from the two big B's.l...the BEATBEHR. I have such good ideas. Maybe I could work for Beatport or Behringer...or both at the same time...shall I write them an email?




By Penny Littleton

Tips on helping out our Fuzzy pollinating friends

The population of wild pollinators is dwindling at an alarming rate worldwide due to the use of pesticides and climate change, despite their absolutely crucial role in maintaining ecosystems.Wild pollinators - such as thousand species of bees, butterflies and moths - are necessary for the reproduction of around 90 percent of the world's flowers and crops. Our fuzzy, winged friends need our help. The last issue of the Shadow wolf Cyberzine included a DIY tutorial on creating your own seed bombs.

Earlier this year, thousands of seeds were planted at the North Sea Institute gardens, which have seen a sharp increase in its bee population, bringing harmony and supporting the local ecosystem which is struggling to keep in balance due to the seemingly endless drought. Here are a few things you may not have known about bees:

1. When mating, male bees' abdomens get ripped causing death. Their endophallus gets stuck inside the queen bee.

2. Bees can distinguish between human faces.

3. Honey is actually beer vomit.

4. A bee sting can have some beneficial effects, for instance, can relieve pain caused by arthritis.

5. There are around 16 000 species of bees.

6. Bees can communicate and 'hear' through vibrations. Beehives have at their entrance a sort of "hall" of empty cells, so that the floor can vibrate when a bee begins to dance.

7. Bees come in all different colors, including with blue rings (blue ringed bee) or spots (African cuckoe beer) red, metallic green, purple etc.

To help out the bees, seed bombing neighbourhoods and city and planting flowers around your home is the best option. Even if you don't have a garden, you can place some flowers at a window sill or balcony, to help them out! Some basic wild flowers will do the trick. This depends on where you are located. If possible, you can plant some flowers that can thrive year-round so that the bees and other insects can find a more permanent home.

The more diverse, the better. Aim for planting pollen-rich flowers that do not have too many petals (this makes it more difficult for bees to access). Of course, don't use pesticides! If you have a garden create a simple bee house to provide nesting sites for solitary bees and other insects. Also, do not remove lawn weeds such as dandelions, these are great for bees!

At the North Sea Institute, bees have been particularly attracted to the bushes of lavender and poppies!

Another bee tip: if you encounter a bee that looks like it is struggling and is on its back, you can help by gently placing it on a bee-friendly flower. If there is no flower around, simply placing it near a bit of water mixed with sugar will help it gain its energy to fly again!

NSIFO Paramilitary training camp

This winter in our special base hidden in the lovely dune valleys north of The Hague, we present our special PARAMILITAIRY TRAINING CAMP. We will make the STRONG & MEEK out of the FEEBLE & WEAK.

If you pass the training successfully you will be commissioned to special commander in the order of the Shadow Wolf and you can franchise your own Shadow Wolf Commando group. This can be YOU for just the price of 5000 euros (excl.VAT including FREE uniform and TRAINING HAND BOOK)

A day at the training camp would look something like this:

Before the dawn breaks all participants are woken up for roll call.

BREAKFAST: - Lentils with Oats and Garlic Onion Juice with microdosed buckwheat croissants and 3 OMNIUM vitamine pills.

Fitness training & jazzballet with Italo disco dancing teached by ex-Rai Uno choreographer Ambroziano Valantzio

Live hand to hand combat training with various different martial art styles such as Systema, Turkish Olive Oil Wrestling, classic street fighting and Bar brawling.

Cybernetic Warfare Training - Commodore 64 BASIC programming language, Amiga disc cracking, introduction to MODEMS and phone phreeking

PSY OPS and Counter Intelligence measures - psychological warfare class

how to gaslight your enemies and defeat them using PSY OPS techniques.

LUNCH: Semolina porridge with pickled gherkins and dried sauerkraut flakes. Nettle tea.

Medieval warfare studies: Sword fighting techniques and siege strategies.

Theoretical Class spanning various subjects such as:

Foraging in the forest - surviving on plants and mushrooms

Druid philosophy and communicating with animals

E.S.P. training, mind control using tabs of acid and manipulation of your own reality by thinking force techniques.

SUPPER: Whole grain soba noodles with algae flake seaweed slime

and 1 whole Buht Jolokia pepper. Brocolli juice.

Lights out at 19:30 and curfew in your barrack where you sleep on a

tiny mat made out of forest moss which you foraged yourself earlier in the day.

At the end of the training there will be a big test were you are given a giant dose of crystal liquid acid laced with psylocibin and salvia and put in a closed white room with no windows for 24 hours with Kenny G's Songbird on loop playing in the background.

If you survive this staying sane you will have accomplished your training program successfully!

HUNGER! A new label from The Hague

A fresh The Hague based label releasing high end cassette tapes

In march 2020 the label released its first two albums:



available digitally on their bandcamp and as 2 tape pack with poster which is most probably sold out.


BAGLOVER - 'Throw Down the Gauntlet'(HUN004)

New full length album by The Hague’s misfit scum electronics duo inspired by the heroism of Jeanne D’Arc, featuring sharp and granular sounds resonating through the battlefield. Synthesized and composed on the mighty MS-10, strewn with field recordings, found objects and poetic spoken verses.

ALCHEMULATOR - 'Larping at Fairsnake Market' (HUN003)

RPG Fantasy Larping music made on the Yamaha PSS480, the ultimate

dungeon fantasy RPG fairytale synthesizer!



by Erasmus Nork 2020

Snoot & Muttley

A terryfying short film

from 1984

It unfolds

In an infinite void of darkness

The only thing that exists

In that universe

Are two wingless flamingos

Snoot & Muttley

Surrounded by

A thin facade of fake palmtrees

Vividly rendered cubicles

That function as their abodes

Yet most prominent of all

The immeasurable terror

Of meaningless

Cold empty space

The uncanny valley is high

In this one

But your life

In all likelihood

Is probably not much different



by Wendy Wormhole 2020

The holographic


does not fill


It is




sent in by Celeste L'Orbesia 2020

Dying planet, dying crops

So we can chew our chops

Grieving tears and heartache,

So we can eat our steak

Sickness and disease

So we can gulp our cheese

Agony and no rest

So we can wear the vest

Never ending sadness

For meat packing madness

We shall mourn the loss

Of the billions of lives lost

Turn a gentle hand

For those who graze the land


A Poem sent in by Nina de Raadt

I just had a sensual moment with a tree.

It was definitely more than friends.

I think I noticed him first outside in the courtyard.

I hesitated I had never been with a tree before.

I could feel him from afar, he was a strong tree.

And I knew we had things in common.

First I just sat nearby and let myself be shy.

A harsh light shone directly on my back

and casted an exaggerated shadow on the wall I was facing.

I closed my eyes and took a couple deep breaths.

A young girl with her boyfriend

walked up and sat right by me.

She was curious,

but all I could think about were your

roots underneath me,

When I finally got up and walked over,

butterflies tickled my belly.

I leaned up against him.

It seemed almost unreal,

our bodies connected seamlessly.

Where there were my bones,

his organic shape had dents

and his knobs gently sank in to my muscles.

I had never felt more supported.

I moved my body sensually

up and down his trunk.

He massaged my back willingly

and with gracious ease.

I whispered a few words to him ,

but I knew what was really being said

was beyond spoken language.

I fingered the wrinkles in his bark,

his imperfections excited me.

I left him after some time for the dance floor.

I just had a sensual moment with a tree.


A little dutch minimalistic poem sent in by Michaël Brijbag

Hier op de traptreden van het geluk

Komt het nog wel eens voor

Dat ik een appeltje pluk



By Fiume 2015

La sueur n'est pas une ennemie

Elle rafraîchit la peut

Et tu aimes son humidité poisseuse

Les inconnus passants et quelque visage familier

Le soleil est aussi chaud comme notre sang

Un destin ou une coïncidence ?

Qui peut prétendre quelle réponse est bonne

Sujette à interprétation

Selon les intérêts dans une situation donnée

Mais les deux positifs donnent un positif

C’est indiscutable

Comme tes mains blanches

Sur un clair de lune brillant


We got some supercool ASCII art sent in by Berlin ASCII

artist JONINSCII check out more here

I guess I am going to make an animated gif of this one ;)

Gino's psychedelic trip guide

Sent in by expert psychonaut Gino van Dam aka JEANS:

I find that tripping in itself and the use of psychedelics is too often misinterpreted and stamped as drug abuse. Unfortunately, because of all the disinformation that is spread there are a lot of people who do not know how to deal with it and that is a shame because these are the means that can open the doors to a higher consciousness and make your life a lot more pleasant if you handle it well. It therefore seems a good idea to set up this trip guide. This is not an all-inclusive trip guide. I'm going to talk about mushrooms, truffles and LSD now. This is a good foundation and will, if you handle it wisely, automatically guide you through the world of many other resources out there. Remember that the use of psychedelics is very personal, and each path is different from another. Follow your own path!

Magic mushrooms truffles and LSD. The difference between these 3 products is that magic mushrooms and truffles are natural raw products and that LSD is made in a laboratory. The trip you experience when using magic mushrooms and truffles is much more earthy and that of LSD a bit more playful but they are all 3 perfect means to expand your awareness and to recognize your ego as a separate and generally created image of yourself. It is not surprising that some people see that ego as something negative because it is a manifestation of a self-image that has been created by yourself and your environment over the course of your life years and this is not pleasant for everyone. But a life without ego is virtually impossible so I would say: Get to know your ego. Say goodbye to the puzzle pieces you are not comfortable with and become friends with the ego that remains.

The setting of a trip is very important and so is your mental state. You put psychedelics temporarily next to your ego and that is not pleasant when you are not feeling well. If you have a good shaman with you as a guide at the time, this can become an overcoming situation because the shaman can guide you through the trip and eventually let you say goodbye to the resentment or pain you feel. But if you do not have this guide with you and you are in the wrong setting without any idea what you are doing, the trip can become a fucking experience that is of no use to you. Therefore, always be honest with yourself when you want to trip and dare to say no when it doesn't feel right. even though I made arrangements to do it that day.

The best setting is a familiar setting, so ensure comfort. Easy to operate music. Also make sure you have playlists ready in advance. This is often difficult to find during a trip. Provide relaxed lighting and be with people who are chill. Think of it as a ceremony. A ceremony with like-minded people. This is very important! A bad apple in the group can ruin the whole atmosphere and the atmosphere is a very important element during the trip. I highly recommend doing it outdoors in nature during a hot day in a place where hardly anyone comes. In nature is magical.

Bring enough fruit and water or natural juices. This is nice when the trip is going to work out. Too sweet stuff will give you headaches and moreover, this will not taste for a meter during such a trip. Always start with a small dose and work your way up until you are at a comfortable level for you. The 1st time may therefore be a light and shorter experience and that is all better than a long hard trip. Not everyone likes that immediately the first time. You have enough time to convert. In principle you can have your correct dose under control within 2 months, but there is no rush. That is why it is also chill to trip when you have nothing to do. Taking the day off is also very beneficial. Then you have time to land and give everything a place.

At the beginning of the trip I always push the method to shut your mouth for 1 hour. When the resources start to work it always feels a little uncomfortable. Taking off your ego feels a little naked at first and that's just a little uncomfortable. At that time it is better not to talk to each other and lie down with chill ambient music in the background. After an hour you should be fine and you can socialize with each other. Watching mirrors, listening to music, walking through nature, playing with animals, philosophizing about life, about yourself, looking at the stars, swimming, making love, cuddling etc etc. There are plenty of things that are fun and good to do but don't forget to take your foot off the throttle every once in a while and turn it in because over time you will notice that the lessons come from within. That is why solo tripping is also recommended. But do not trip solo until you are experienced and you know how to handle tripping.

A bad trip is just a concept. You will also get this automatically over time. A bad trip is actually a concept based on the word itself and sounds anxious and therefore quickly evokes an anxious feeling in you. But a bad trip doesn't really exist. A trip is as it is and you will soon learn that accepting both good and bad will lead to a balanced existence. Do you have the feeling that your trip is not going exactly the way you want. Then go to another room, change the light, put on different music and talk about a different subject. Because you are very in the moment while tripping you sometimes seem to end up in a loop. If this loop does not feel comfortable, it is a simple matter of stepping out of the loop and creating a new loop that feels pleasant. Be in charge of your own trip! :)

I would like to end this guide with a different, more subtle way of tripping. Namely, microdoses. With this method you can trip in a very light and subtle way in everyday life while you are still able to do your shopping or even work. Microdosing is fun to do for a while (a month or 2) and then every 4 days. It opens doors in your brain in a very subtle way and it influences your creativity. It actually does exactly what a normal trip does, but spread over a longer period of time. You can almost say that you experience an extremely long trip but then one that you and your surroundings hardly notice. Almost not, but after a few weeks you will discover that things will certainly change and that you will be much more aware of life. How to microdose? Very simple. Grab an empty bottle. Put 10,15 or 20 small glasses of sterilized water in it and put a stamp in the bottle, shake the bottle well. Put the aluminum foil around the bottle (against sunlight and so that nobody accidentally takes a sip of it) and put the bottle in the fridge. So if you put 10 cups of water in the bottle, you know that 1 glass of water from the bottle is 1/10 of the seal. Also start with this method light, so 1 / 20th and build your way up. So it is not the intention that you really trip. M. If you feel light that your senses become sharper, you sit more in the moment but can still have a normal conversation then you are busy! Lots of fun!

At the moment I am working on a piece of music that will function as a magic mushroom trip guide but in musical form. The piece of music will last 6 hours and guide you through all phases of a magic mushroom trip. Also in keys, tones have been chosen that are equal to certain frequencies which will change slowly during the duration of the trip.

I expect to present this piece of music sometime in near future.

Gino Aka JEANS

Calculator Magic experimental archeology with a calculator

A littlebit of interactive experimental computer archeology.

A loooong time ago somewhere in the 1970s calculators entered human civilization...

They were seen as supercomputers, sentient A.I. technology, delphic

oracles that could solve all the worlds problems. Of course like any

new technology people would also be against calculators. They would

protest in fear, burn down calculator stores and speak of doom and

gloom for the world if everyone started using one.

The aura of mystery around calculators would be hyped up by books

which showcased all sort of magic tricks and games that could be done on

these wondrous machines.

People would spend their Saturday evening having calculator parties: Some booze, some reversed pineapple cake with canned cherries, some

Kraftwerk and Jean Michel Jarre records on the record player and in the middle of it all - a calculator.

A whole world of digital wonder and proto cyberspace lay open

in the 9 digit LED screen. The first futile steps in the digital

age had commenced...

Relive these exciting times in this interactive archeology experiment!

Get out your old calculator and astonish yourself and your friends with the following calculator games and tricks:


This game particularly caused an outrage in evangelist circles and got the calculator almost banned in the USA. Enter your date of birth in the calculator Day/Month/Year If you are born on 22 December 1988 then you enter 22121988 now press the divide key and enter the current date.

So if thats 23 december 2020 you type 23122020. Press the = key

now add 1332, press the = key and divide by 2.


You need 2 players for this. Put the calculator between you and the other player. One player holds their finger above the 1 key, the other

player holds their finger above the 9 key. Countdown from 3 to 0 and shout GO!. Both players try to press their key (1 or 9) as fast and as many times as possible. After 3 seconds both players stop and look at the screen - the player with the most digits on the screen has won!


A little calculator trick that was popular in Holland.

Flip your calculator 180 degrees, Type in 707 + 707 and see what appears! Now this is interesting because of course 707 flipped comes out as LOL and the answer is even more mesmerizing. But LOL

didn't mean anything back in the 1970s except in the dutch language where lol translates as 'fun'.


Calculator top entertainment for 2 players. You need a small strip of paper to put over the calculator screen.

Give the calculator to the other player. They will enter a secret number from 1 till 8 which they will not disclose to you. The calculator is put in front of you with the screen concealed with a piece of paper.

The other player now has to traverse on the calculator keys from 0 to 9

without stepping on the mine, which is under the secret key number.

The player starts at 0 and can move to any adjacent number key: up, down, diagonal and sideways.

if the player lands on the secret key number the other player shouts BOOM! and its game over.

If the player lands on a adjacent number key of the secret number key the other will say WARM...or Alert or careful!? whatever you like.

When the player lands on 9 they win and the other player has to give them a piece of chocolate.


By S.hadow Wolf

A little apreciation blurb about this awesome free VST software

synthesizer from Switzerland called TAL NOISEMAKER. Its old already, from 2010 or something, so we can maybe speak of something like a vintage VST! Its both for PC and MAC and can be downloaded here


I have used this thing probably for almost a decade now on countleses of records and I will probably keep using it forever. Most of the time, software gets obsolete quickly, especially VSTs but Noisemaker has

this timeless character.

The interface might be a bit confusing at first glance, with certain sections of the screen that are hidden, but they can easily be expanded and folded by just clicking on them so there is really not much confusion going on.

Its a 3 oscillator substractive analog emulation synthesis VST but it got some interesting tricks up its sleeve...

First of all there is a huge selection of filters. The usual 12/24 lowpass, bandpass, hipass, a very juicy 18 db filter , and even more exotic: a 6db filter, this one especially has a unique raw yet smooth sound.

Another cool function is the envelope editor. A 'drawable' modulation envelope LFO which you can loop. Just draw your own LFO waveform/envelope, select the speed, the modulation destination and choose if you want to let it loop or do a 'one shot' trigger.

In the control section we find some more cool functions. There are effects such as reverb and delay, a bit crusher and two sliders for 'vintage noise' & filter drive which give your sound a rather appetizing dusty character.


In the control section, turn up Cont & Cut off on the Velocity sliders(make sure the CONT knob in SYNTH2 filter control is low or at 0, so the filter has more 'velocity headroom'). Set the filter type to 18db or 6dB. Turn on Portamento in auto mode, with around 10 - 15% portamento amount. Make sure its in mono mode (voices: mono). Now program some sequences where you have some overlapping notes so they make slides.

This will be an excellent recepy for intense fluid raw rough acid lines!

TAL software also just released a Jupiter 8 VST for a very friendly price , I haven't checked it out yet but I am sure its awesome!


Ok, this is not really news, just a little list of the latest

Nightwind Records releases:


listen here


listen here


listen here


listen here


listen here


A feature length animation coming early 2021!

The animation portrays the story of Samantha Tapferstern who lives a lonely mundane life working as a repair technician in a small synthesizer store in a medium sized city. One day she gets a mysterious invitation and a train ticket to travel to a small village in the dark mountainous heartland of Europe. Here she meets a strange group of people who introduce her into a sinister plot.

I am going to do a tour showing the animation and doing the

soundtrack live on synths - if you want to book it in your

theatre, space, club whatever contact my agent.


Check out some screenshots from the animation here

Backpage Bits & Pieces

Some blips & bits for the 'last page' of this issue...

Intergalactic FM TOP XXX

Intergalactic FM The Hague's worldwide internet radiostation for freaks of all kinds is doing another TOPXXX on 26 December transmitted live via Intergalactic.fm/cbstv

This year is dedicated to just vocoder tracks!

Lift-off is 1600 Central Intergalactic Time (CIT) and you can even be there if you manage to catch an invite.

Details regarding this will follow!!

Legowelt stream on New Years Eve

The PIP club in The Hague is going to do a New Years Eve stream

with a Legowelt live gig. It will be from 20.00 till 2.00 (C.E.T.)

Also playing Pasiphae & Intergalactic Gary, Elias Mazian, Some Saturn & Tom Trago. I will play from 23.00 till 0.00

Keep an eye out on the PIP clubs social media to see where etc.

I wish you a fantastic 2021!!!

S.hadow Wolf

(mirrored from www.legowelt.org)

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