Ibiza Voice Podcast 555 :: Analogue Cops
Download :: www.unlock.fm/9z5
What has this week’s podcast and Sir Isaac Newton got in common? The legendary physicist’s Third Law states that for every action, there is an equal and opposite reaction and it’s an accurate description of the very same philosophy that binds The Analogue Cops together.
The duo comprised of Italian vinyl house and techno artists Lucretio and Marieu launched Restoration Records in 2007 as a reaction to the musical tides of the decade. The world’s of Beatport minimal and digital DJing had swung into focus and as producers everywhere sold their gear and abandoned their hardware studios en masse in favour of Ableton Live and soft synths, the pair responded with a different approach.
Hailing from Italy’s underground musical mecca, Padova and later honing their crafts in Berlin, the two producers surrounded themselves with as much hardware equipment as they could. Restoration began with a vinyl only policy at precisely the lowest ebb of vinyl’s downturn as the popularity of digital downloads reached an all time high. From tough beginnings, however a commitment to high fidelity music recorded with high fidelity tools was rewarded over time as vinyl slowly crept back into contention.
A decade and more on, and the pair are responsible for a small family of highly respected vinyl labels. Alongside Restoration, their other imprints include Lucretio’s Machines State Polymers, Muscle Records and Marieu’s Enlightened Wax and the co-run Appointment and as is evident from their Ibiza Voice podcast, the quality bar is always set to ‘high.’
Ibiza Voice: How did you record the mix and what equipment did you use?
The Analogue Cops: The mix was recorded just with two turntables and an old Ecler ‘Mac 60’ mixer. Every record in the mix is special for us in one way or another. It was recorded live on the first take and we have not done any kind of digital editing, so it catches the vibe in our headquarters.
Where do you get your music from?
Lucretio: As I am living in Padova now, the only record shop I visit is Hi-Fi Record, a very nice shop with a lot of jazz, rock and world music but also with big crates where I can dig 90s and 80s gems of electronic music. There is also a nice selection of contemporary techno and house music.
I spend a lot of time on Discogs and we make at least one group-order every month with my friends of the sound of Brenta from deejay.de. If I have a DJ set on the weekend, I spend a lot of time searching for new records. If I have a live show, I spend more time on the machines in the studio. I am very lucky to get promos from friends like DJ Octopus, Steve Murphy, Sagats, DJ Soch, EMG and John Swing (just to name a few) and from friends´ labels such as Relative, Memento and Hypercolour.
Tell us about your record collection?
Marieu: we started collecting records around 1999. A large amount of them came from a shop in Florence called BlackOut that had an incredible selection of underground dance music. [After leaving Padova] we continued collecting a lot of vinyl in Barcelona and later, Berlin. A lot of records are coming from our friends and from all around the world. Inside our shelves, there are all kinds of music. Usually when we chill at home we don’t like to listen club music, we prefer things like hip-hop, movie soundtracks (especially from Ennio Morricone) or smooth jazz.
Do any of these records tell a story about you?
Marieu: when we started our label Restoration in 2007 it was the worst time in history for vinyl. When we pressed the second release, we sold just 100 copies. We didn’t have any distribution [deal] or money to put out the next release. We thought we were finished but then thanks to the help of our families, we were be able to press the third release ‘Resistance On My Mind,’ and it was like a new beginning for us.
Lucretio (left) and Marieu (right).
Tell us about the scene you came up in, how did it influence you?
Lucretio: There was a place called Teatro La Scala in my little city that at the end of the 90s was something really different. It was one of the first places in Italy where you could listen to European and American techno mixed together with the Italian progressive dance music.
It was run by a visionary guy called Nando. One of their resident was Riccardino from BlackOut records in Florence, and in his shop, I discovered the records of Jeff Mills, Robert Hood, and Gigolo or Tresor Records. In Florence, there was also a small independent label called Urban Mantra, founded by PierAntonio Gualtieri, releasing cutting edge minimal techno; and I learned a lot from them.
But it was not only about techno. In our region clubs such as Il Muretto or Matilda were regularly hosting the big players of US house. Our oldest friends had a lot of DJ sets on tapes from masters like Tony Humphries or Frankie Knuckles and we were listening to them over and over. But the tape that really got me here was a magical tape of Francesco Farfa that I had from a dear older friend at the age of 14, when I was still too young to go to a club.
How did you both meet?
Marieu: we come from the same village in Italy called Cadoneghe in the suburbs of Padua, but we never hung out together until I came to Barcelona for a vacation and stayed in the same place as Domenico. He was renting a room there for the summer, and after that holiday I moved to Barcelona to live in the same place.
When we moved to Berlin we started thinking about the label, the music and the studio. At the beginning, I was listening a lot of house music and not really into the techno scene but with the help of Domenico, I started to open my mind to different genres. Our sound developed in different ways using the studio of Eduardo de la Calle when we moved to Germany and then experimenting with new stuff every time, buying cheap machines first and then new stuff when we start playing a little bit around.
Tell us about your relationship with Berlin?
Marieu: At the moment, Domenico is not living in Berlin, he moved to Padua again but we keep our headquarters and the main studio in Germany. Our relationship with the city is good. We have spent 11 years here already, meeting new people, and having always new experiences.
I don’t know if Berlin has still the power to transform an artist’s career like it did in the early 2000s. The city is a little saturated. Too many people want to do the same thing and it’s not just the DJs. The same thing applies to other fields like graphic designers, photography or architecture. It’s still a great way to get in contact with other artists because we can say now Berlin is the capital of club music.
You're big advocates of vinyl, but what are your thoughts on streaming services like Spotify or Soundcloud?
Lucretio: We have always been advocates of vinyl because for us, it is the best portable medium to reproduce electronic dance music in a club. Vinyl has smaller dynamics and frequency range if compared with decent digital recordings, but it has a richness in harmonics and a presence in the lower frequencies that make it the best choice for a club.
It all changes if we are speaking about ambient or experimental music: vinyl is, for example, not the best medium for a work of Ryoji Ikeda and it is simply useless if we talk of music for Ambisonics. We don´t have any problems with Soundcloud, but it makes me really sad to think that people are now listening to music most of the time through YouTube or Spotify. These platforms use really bad compression algorithms and the sound quality is really really bad. I think BandCamp is a good choice because of their high quality digital recordings and support for the artists.
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