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┌────────────────────────────────────────────────────────────────────────────┐
│ │
│ Hallucinogen - In Dub (Mixed by Ott) │
│ │
│ ┌────────────────────────────────────────────────────────────────────────┐ │
│ │
│ Artist: Hallucinogen │
│ Album: In Dub (Mixed by Ott) │
│ │
│ ┌────────────────────────────────────────────────────────────────────────┐ │
│ : : │
│ Ripper........: DMT │
│ Supplier......: DMT & XiX & FerryT │
│ Genre.........: Psychedelic │
│ Style.........: Psychedelic Dub │
│ Ripp.With.....: EAC v 0.9 (beta 4) │
│ Encode.With...: Lame 3.92 │
│ Quality.......: VBRkbps / 44.1kHz / Full Stereo │
│ Company(Label): Twisted Records │
│ CatalogNr.....: TWSCD16 │
│ Url...........: www.twisted.co.uk │
│ Date..........: 25.01.2003 │
│ StreetDate....: 00.10.2002 │
│ Type..........: Album │
│ Source........: CDDA │
│ Tracks........: 01 │
│ Playtime......: 59:50 min │
│ Size..........: 89,6 MB │
│ │
│ ┌─────────────────────────────[ ReleaseNotes ]───────────────────────────┐ │
│ : : │
│ --== Info ==-- │
│ Unbeknownest to the London massive, deep within the English countryside │
│ lie a number of brilliant music producers. One such unfashionable but │
│ extremely talented artist is Ott, best friend of Simon Posford (aka │
│ HALLUCINOGEN) and previous editor of the Shpongle albums. Ott is a our │
│ very own country computer wizard working only at unsensible hours of the │
│ day, constantly connected to the internet, downloading every known + │
│ gadget and plug in possible and communicating online with the outer │
│ world. So legendary are his skills and his massive dubs that Simon has │
│ commissioned him to do a remix album of classic Hallucinogen tracks such │
│ as Gamma Goblins, Solstice, Angelic Particles, & LSD amongst others. │
│ Ott and Simon first met at Butterfly Studios were + Ott was working as │
│ freelance engineer for Youth. Since then he has gone on to work in │
│ nearly every famous studio one could name, from SARM East and West, Real │
│ World, and Ridge Farm to name a few. He is currently managed by │
│ Strongroom Management UK and has continued to work with a number of │
│ famous artists and producers in music business, including Sinead │
│ O'Connor, The Orb, and Brian Eno for which he was interviewed in Sound │
│ on Sound Magazine. So as you can see Ott is the master of ceremonies │
│ when it comes to studio equipment and production. He has had several │
│ releases over the years as trance act - ECO - on labels such as TIP, │
│ Dragonfly, and Matsuri, but has essentially stayed a freelance whore │
│ until now. With a spate of new material he is set to become a │
│ modern dub pioneer reshaping the already classic soundscapes of │
│ Hallucinogen's music with his studio trickery and plug-wizardry. The │
│ timelessness of some of the tracks listed below for remix is in many │
│ cases beyond description and as such the only person deserving of remix │
│ duties is this man, Ott. │
│ │
│ (from http://www.twisted.co.uk/albums/twscd16.html) │
│ │
│ │
│ --== Reviews ==-- │
│ I'd expected this to be brilliant - but not this brilliant. Freelance │
│ producer and general sonic experimentalist Ott (read this week's │
│ interview to find out how he put some of the sounds together) comes from │
│ a full-blown studio engineer background, working with the likes of Brian │
│ Eno, the Orb and even James. Freelancing for Youth, he met Simon Posford │
│ at London's Butterfly Studios, and now lays down some seriously │
│ heavyweight remixes of Hallucinogen's classic tuneage. Mi-Loony-Um opens │
│ with the same intro as the floormashing 4-4 original, and then buzzes │
│ right down to a slower, heavy dub tempo signalling that you're about to │
│ be taken deeper than you've ever been before. It's jaw-dropping, with │
│ the trademark hallucinogen sound more felt than heard. It's pure dub, │
│ with hefty bass, plenty of topend splurge, a groove that'd melt butter │
│ and at eleven minutes plus it's a perfect duration to get one on, light │
│ up, and float back. Solstice uses a more discernable skeleton of the │
│ original, and builds up some insanely gorgeous patterns, with rhythms │
│ shifting all over and melodies coming in and out of nowhere. It's got a │
│ heavy druidic vibe, and a more complex set of atmospheres than you've │
│ ever heard before. Gamma Goblins and things get very, very good indeed. │
│ The pixielike main melody is underset by fat, red-eye rasta pure dubà │
│ and it's a sheer fucking delight. You always had the suspicion that │
│ Hallucinogen's stuff would lend itself well to dub - and this proves you │
│ right. It's a dub circus with flecks of the original souping in and out, │
│ and the effect is truly psychedelic. Spiritual Antiseptic uses the │
│ original's cutup vocals with a more traditional dub arrangement - │
│ melodica, clattering drums, and reverb to hell and back. Meanwhile LSD │
│ takes the intro and launches straight out into an insanely gorgeous bit │
│ of dub - the clatters and spaciness make this possibly the most │
│ shpongle-like on the album, and the new vibe and melodies Ott prescribes │
│ give it a trippy Celtic vibe. Twisting and turning, the way the main LSD │
│ melody surfaces is pure sonic poetry, and certainly gets those brain │
│ chemicals flowing. Finally Angelic Particles - with swirling vocals and │
│ sweet guitar (specially recorded by Simon Posford) creating a sort of │
│ timeless dub full of rich psychedelic harping back to Floyd, Gong and │
│ the Grateful Dead. This is an absolute triumph - it's original, it's │
│ brave, and the sounds are truly transporting making this a release that │
│ truly deserves the "psychedelic" tag. Not just an album to enjoy, but │
│ one to experience - and for a damn long time as well. │
│ Rating: 5 out of 5 │
│ │
│ (from http://www.psytrancereviews.btinternet.co.uk/) │
│ │
│ │
│ │
│ 1. Mi-Loony-Um (A floating butterfly stings like a bee mix) │
│ The beginning makes me terrified. Will this be another "full on" album, │
│ besides what the name promises? This sure doesn't sound like dub or │
│ chilled music. More like very energic full on intro. Those 'tic tac' │
│ sounds are even faster than in the original. I'm just absolutely │
│ petrified. Will the evil BPM enter soon? At 00:40 something extremly │
│ relieving happens. The tempo get's slower and slower.'Tic' followed │
│ by one second pause and then 'tac'. Yippee! At 01:00 it sounds like the │
│ original, but played on vinyl player that was accidently turned off. At │
│ 01:30 some action can be heard, something is about to happen. A distant │
│ female voice saying something like 'tao, tao..'. Well anyways it │
│ dissapears into the track. Beat get's it shape. At 02:30 we get a dub │
│ like bassline. Is this really the same track? Cool pitched hi-hats │
│ dominate the track. Somewhere on the edge of 04:00 the dialing sounds │
│ enter, only much more twisted than in the original. A few seconds more │
│ and suddenly the track turns into reggae, well dubreggae, or maybe │
│ psyreggae? Well that's not important. What is important is that this is │
│ just perfect. Somewhere around 05:00 we get a synth. Is this some melody │
│ from the old track? Can't really remember. Even if it's, well it barely │
│ resembles it. Somewhere between 06:00 and 07:00 this could be Shpongle, │
│ only thing missing is that magic flute. Lots of work done with pitching │
│ and effects here. Almost every second a new drum says 'cha' or 'zi' or │
│ 'sziuu' or well actually pretty much everything is thrown in here. Just │
│ before 08:00 there's sort of break part. On the background there's a │
│ female voice saying 'uuuuuuuuuh', 'aoooooooooooh', 'heyiaaaaaa', │
│ 'mayaiaiaaaaaa' and so on. It's echoed in a splendid way. Is that │
│ Michelle? I can't tell. At 09:45 there's a familiar sample. 'I became │
│ tuned inà.'. It's like 1/2 tempo of the original though. The track │
│ starts to see it's dusk at 10:20. │
│ │
│ 2. Solstice (Warwick bassmonkey mix) │
│ The beginning is pretty much like in the original. Maybe the tempo is │
│ just a little lower and there's more stuff going on on the backgroud. │
│ Also the synth is somehow edgy. The 'pipipi, pipi pi pii' synth enters │
│ companied by a gentle clean bass. At 01:45 it's 'wah wah' time. After │
│ that the beat scrubs some space to slacken into. At 02:30 there's like │
│ 'Bob Marley meets the new millenium feeling' written all over the place. │
│ Somekind of horn gets a big role here. At 03:20 this could be something │
│ like a burden. So much stuff going on on the background. The reaggae │
│ feeling comes mostly from the electronic guitar. The track keeps on │
│ changing every ten seconds or so. At first some breakbeats, then │
│ suddenly scrambled female voice saying something weird. Finally it's │
│ time for 'pipipi, pi pipi pii'. At 05:20 there's a build up process │
│ going on. The song actually sort of truns into a track. A little 4x4 │
│ stuff going on. Well I don't mind, it's still perfect! At 06:30 the │
│ burden comes back, only as alot stronger, and yes.. edgyer. Very strong │
│ and emotional moment. Streams pass. At 07:30 very trancey feeling again. │
│ Not trance 'trance', but still not so dubbish. 08:30 the track starts to │
│ end. │
│ │
│ 3. Gamma Goblins (It's tutles all the way down mix) │
│ Strong disturbance going on in the beginning. Are there some gamma │
│ goblins behind it? Oh yes, at 00:40 I can already hear them. Is that │
│ water dripping? The intro of the original track is sort of presented │
│ here, only as much more twisted version. Then there's that cool sample │
│ talking about stages and elements. 02:00 some hi-hats make their first │
│ appearance for a few seconds. 02:20 the bassline can be recognised, │
│ although it's still pretty quiet. 02:30 the gamma goblins enter, and │
│ believe me, they do it strong, and somehow it feels like they are more │
│ twisted this time. 'tiidi tiidi tiidi tiidi tiidi tiidi tiditidididi'. │
│ At 03:00 there are quite many of them. When did the bassline get that │
│ strong? And the beat? These two really stand up from the track. 04:00 │
│ it's obvious that a lot of hours where spent at the studio. And it │
│ definetly pays off. A little before 05:00 the style is definetly psydub. │
│ Not because of any evil BPMs, but the psychedelic effects. 05:30 the │
│ gamma goblins sound a little evil and even more disturbed. Just before │
│ 06:00 there's some familiar stuff going on. Then at 06:10 a gong stops │
│ everything but the goblins. But then they turn into a synth. A sample │
│ steps on them and starts the bassline again. 07:00 also the beat get's │
│ it's shape and space. Goblins are still there, but mostly as echoes. │
│ They aren't far away though.. you can definetly sense their contiguity. │
│ 07:52.. teach me how to do that effect =). Dub is back and gammas are │
│ gone. 08:25 the guitar plays the 'melody'. At 08:50 still going strong. │
│ Once again various stuff happening all around the track. Water.. was │
│ that a cat? Water finally beats the track at 09:40. Then a voice of a │
│ man (the man himself?), is this sample in the original too? Finally some │
│ weird bird noise and we are all set up for the next gem. │
│ │
│ 4. Spiritual Antiseptic (Minty fresh confidence mix) │
│ The soundscape is interrupted at 00:30. Soon the beat takes over. Or │
│ does it? Hard to say. 01:11 it's game over for the soundscape. It's time │
│ to dub again. This time the bass is a little smoother. There's really │
│ cool kalimba saying 'trrrrrk' every now and then. The bassline is sort │
│ of complicated. At 02:18 there's like the best melody ever presented to │
│ the beings of this planet or (I'm quite sure about this) to the whole │
│ universe and multiverse (which ever theory you believe in). I feel like │
│ an ancient sailor. 'Is the edge of the world close'? At 03:31 it's all │
│ about the harmony of the bass, the beat and the melody. But not for │
│ long. Pretty soon the weirdo effects enter. Sometimes they are infront, │
│ sometimes behind, sometimes they come from the left and sometimes from │
│ the right. Also sometimes from above and sometimes from below. 04:45 │
│ just throw the flute in and you have a Shpongle gem! Well hard to │
│ describe now on! Just simply perfection! At 06:30 there's somekind of │
│ human choir thing going on. And the kalimba is back =). At 06:40 there's │
│ a radical change. The masterpiece is sort of over =( │
│ │
│ 5. L.S.D. (World sheet of closed string mix) │
│ Oh yeah. 'I believe..'. I myself believe that this track will be just │
│ perfect. While the man tells us about the doors that we are not wanted │
│ to go into the bassline and a fractal beat sort of sneak in. Immediately │
│ after that the sample gets louder, then a guitar playing some familiar │
│ melody. Yep it's the one. Almost impossible to recognize the very first │
│ time. Well the beat is sort of drum n bass(ier?). 02:20 this is just │
│ perfection. Am I still here? Or in OTT Land? Is this Shpongle? It │
│ definetly could be! A very weird instrument enters. It sounds like │
│ if 100 000 people would say 'miiii' at the same time. Oh yes! Bring it │
│ on! This is dub, but still it's sooooo psychedelic. 03:10 we are told │
│ some facts about LSD and religious experience. 03:30 there's some time │
│ to fill your lungs, you know, breath while you can. After ten seconds │
│ the bassline returns followed by the beat and the guitar. 04:29 -- this │
│ bassline is so familiar. That one part, is it from some Shpongle song?? │
│ 05:10 the effects get a huge role. I wonder if my old computer could │
│ make it through that? Probably even 2.6 giga herz computer would crash. │
│ It's just way too complicated! That familiar melody thing comes back for │
│ a little spin. But the bassline wants to be the strongest. Well their │
│ cowork is terrific, splendid! 07:00 you know that the end is getting │
│ closer and closer. A familiar sample interrupts the ending. I think he's │
│ talking something about circles. Well this track will do alot of circles │
│ in my cd player, that's for sure! 08:24 there's no bass nor beat, just │
│ birds, car sounds and some other weirdness. │
│ │
│ 6. Angelic Particles (Buckminster fullerine mix) │
│ Birds are still singing. Some minor weirdness stuff going on all the │
│ time. This must be something great, after all it's the last track. 00:41 │
│ some glass drum things start a tribal beat. At 1:20 still keeping it │
│ very chilled, absolutely nothing radical going on. 01:45 you can sense │
│ that something is about to happen. This is great and rare in ambient. │
│ There's somekind of building process going on.Everything is crystal │
│ clear, but still wicked. 02:30 that female 'aaaah' beginns. Yes, it's │
│ about the same 'aaaaah' than in the original, but more dubbish. 03:08 We │
│ suddenly get a bassline and once more a mixed up guitar that has Spain │
│ written all over it. The beat starts to build up a little, it for │
│ example gets some backing up echo stomps. Close your eyes and you are │
│ there. Where? Well I'm there, where that 'aaaaah' is coming from. And │
│ there's a good reason for that 'aaaaah' too. Once again, just add the │
│ flute and stir it up and voila!, it's a chilled shpongle tune. The │
│ guitar is not so mixed any more but fingerpicked. Song keeps on getting │
│ dubbier, mainly because of the bassline. 06:15 at this point you should │
│ understand that this is just simply a masterpiece. The absolute! Then │
│ you are good to go for the incoming guitar solo. This music could be │
│ played without computers, it's very organic. Well there aren't really │
│ words to describe this. The track remains pretty much the same, but │
│ still every second of it, is perfect. Close your eyes and you might │
│ notice the stuff that it keeps on collecting on the way. Well it's all │
│ over. What a trip it has been! Final thoughts: Well this is simply │
│ perfection. Great candy for Shpongle lovers. Great candy for all! │
│ There's only 1 negative side which is that the album is only 59 minutes │
│ and 46 seconds long! That's why I only give it 9+/10 │
│ │
│ (Reviewed by Traveller in October 19, 2002) │
│ (from http://goatrance.free.fr/reviews/indub.htm) │
│ │
│ │
│ --== Interview ==-- │
│ With Hallucinogen In Dub, freelance producer turned freetrance seducer │
│ Ott has set a new benhmark in what can be done with trance. We caught up │
│ with him one unusually mild British October evening, and talked about │
│ music, porn, the size of hos mouth and why his cat's on the album... │
│ │
│ "It's supposed to be heard as one album. It was supposed to be the │
│ Anti-Hallucinogen!" │
│ │
│ damion: Okay. So, where are you, how are the vibes, and what did you get │
│ up to at the weekend? │
│ │
│ Ott: I'm sitting in my studio, in Somerset... and its lovely. All the │
│ doors and windows open (uncannily mild for nearly October). I don't │
│ really have weekends though, every day is the weekend round here...! But │
│ the last few days I've been working on a tune which is a collaboration │
│ with Si Posford, Andrew Interchill, Michele [Shpongle vocalist] and me. │
│ │
│ damion: Sounds cool - the Twisted posse seem to collaborate a lot │
│ together - it that a good way for you │
│ to work? │
│ │
│ Ott: I like it. This wasn't really planned, it just sort of happened... │
│ │
│ damion: How did the remixing for Hallucinogen come about? Was it more a │
│ collaboration or something you see as your own work (with someone else's │
│ bricks?) │
│ │
│ Ott: Good question! The original idea came to me in a flash one night, │
│ to take a load of Si's tunes and mince em up... so I mentioned it to Si │
│ and he was up for it. I took his hard-drive [after much persuading] and │
│ spent the next few months holed up in my studio nailing it all together. │
│ So, really, it is a collaboration, cos its made of lots of people's │
│ work. │
│ │
│ damion: It's evident from the album that a lot of time went into it. I │
│ always thought Si's stuff would lend itself to dub nicely... did you │
│ have ideas in your head about what you wanted to do with certain tunes, │
│ or did they just sort of evolve? │
│ │
│ Ott: No --- no planning. The only thing that occurred to me before I │
│ started it was that his tunes tend to be around 140 - 150 bpm and I'm │
│ happy down in the 70 - 75 bpm end of things! │
│ │
│ damion: Hence the slowdown on the start of mi-loony-um, right? │
│ Ott: Yeah - the slowdown is a bit of a signpost │
│ │
│ damion: But Gamma Goblins on the other hand seems to be a dub tune that │
│ had been in drag pretending to be a trance tune for years! │
│ Ott: Gamma Goblins was one of the easier ones to do, it just kind of │
│ wrote itself. I was pleased with how the main melody at the beginning │
│ works with the new rhythm/tempo... │
│ │
│ damion: Yeah, they're made for each other... │
│ │
│ Ott: ...like it was always meant to be that slow │
│ │
│ damion: Anyway, other than this project and the one you mentioned above, │
│ what else are you involved with at the moment? │
│ Ott: Finishing my album! My very own, all on my own album. │
│ │
│ damion: What's the vibe on that then? │
│ │
│ Ott: Just two songs to finish, and its all done. Its just lots of big │
│ old dub. Have yu heard Somersettler? My tune on Backroom Beats 1? │
│ │
│ damion: Yup, I know it. Is the new stuff in the same style? │
│ │
│ Ott: Its hard to say, because I don't really set out with a style in │
│ mind. I only just rebuilt my studio, and I have a feeling its going to │
│ affect the entire way I work. So in terms of style, I'm keen to find out │
│ myself! │
│ │
│ damion: That's interesting - kinda quantum, like where does the studio │
│ start and the Ott finish! │
│ │
│ Ott: Heh - VERY blurry, I'd say... we are one being │
│ │
│ damion: Your stuff sort of reminds me of that Planet Dog / Feed Your │
│ Head / Digidub stuff - is that an influence? │
│ │
│ Ott: Almost... When i first moved to London in 1990, all that kind of │
│ stuff was bubbling about and then all of a sudden everybody i knew was │
│ listening to Adrian Sherwood, On-U-Sound... so i was thoroughly steeped │
│ in Dub Syndicate, Gary Clail, and my sister used to listen to a lot of │
│ old Jamaican dub... Prince Far-I and all that, which also stuck with me. │
│ Oh... and African Headcharge's "Shashmane Land"... that was a big record │
│ for me │
│ │
│ damion: So is there a sort of "trance thread" that runs concurrently │
│ with the dub one? │
│ │
│ Ott: Sort of. The same guy who got me into Adrian Sherwood - a DJ mate │
│ of mine -played me my first trance tunes, and I thought "hmmm - I think │
│ I like this..." It was big thumpy music but it didn't have any diva │
│ samples or pianos! This was about 1993 - 944, or maybe 1995... Anyway, I │
│ thought I'd have a go at it, and had a few releases as ECO - but nothing │
│ terribly impressive i'm afraid. In fact, they were cack as far as I │
│ rememeber. │
│ │
│ damion: So have you been active on the dub scene all the way through? │
│ │
│ Ott: No, not really. I was working as a freelance engineer/producer for │
│ most of the 90's, working on all kinds of stuff... Brian Eno, Youth, │
│ even engineering for bands like 'James' for Christ's sake! │
│ │
│ damion: Did they keep telling you to Sit Down? │
│ Ott: Hahaha │
│ damion: B-Boom-TISS! :) │
│ Ott: eye-thangyew │
│ │
│ Ott: James suck[ed], but it paid well. And then I started working at │
│ Butterfly Studios in Brixton, Youth's place, which was fucking │
│ brilliant. Two years of total madness, and that house had a life of its │
│ own. It was brilliant, the weed never ran out and it had 3 studios, AND │
│ they paid me to be there... ace. Anyway, in 1998 I finally got sick of │
│ London, grabbed my studio and ran away to the countryside to start │
│ writing my own music. Now it feels like home. │
│ │
│ damion: So here we are now then - the present... what's on the horizon │
│ for the next couple of years? │
│ │
│ Ott: More of the same! I just gave up smoking (well - gave up tobacco) - │
│ so I'm a bit short tempered with studio gadgets and stuff. │
│ │
│ damion: Maybe it'll have you making nosebleed gabba :) │
│ Ott: Well - funny yu should say that! Because usually, anything over │
│ 85bpm makes me travel sick... 115bpm sounds like gabba. But since I gave │
│ up smoking, my music has been getting faster. I think its my metabolism │
│ increasing, or some bollocks like that. I'm working here at an │
│ earsplitting 106 bpm = thats fast for me you know! │
│ │
│ So to answer your question, what's happening next... I intend to sit │
│ here doing this for as long as it's fun. │
│ │
│ damion: Do you work live too, other than the studio stuff? │
│ Ott: I'm just in the process of putting the live thing together. I want │
│ to be able to play live next year - just got to work out the best way to │
│ do it. │
│ │
│ damion: About Hallucinogen In Dub, out soon on Twisted Records. Is there │
│ one track that stands out for you as being a favourite? │
│ │
│ Ott: That's difficult, because it's all quite recent. So i'm still │
│ hearing those tunes as if they are pieces of work to be tweaked. I │
│ usually need 4 - 6 months to forget the process of writing/recording │
│ them before I can hear them as music... but i was quite taken with │
│ Mi-Loony-Um yesterday! It's very sloshy and gelatinous,and Angelic │
│ Particles surprised me too. │
│ │
│ damion: In what way? │
│ Ott: Because it came out of nowhere. I was working on it for 3 weeks, │
│ and couldn't get it to do what I wanted. So one day at six in the │
│ morning, and after two days awake, I threw it away and started again, │
│ re-wrote it in about 6 hours. Then Simon popped round later on, and │
│ played the guitars on it.... then I mixed it, which took no time. But I │
│ love the sound of it. │
│ │
│ damion: Did Simon add a lot of the guitar on the album? │
│ │
│ Ott: Yeah, he plays guitar on every one of them - except one (I think). │
│ │
│ damion: Is that a real melodica on the album? │
│ Ott: Yeah. I have 2 melodicas, I love em. I love that Augustus Pablo │
│ thing... │
│ │
│ damion: Can you play them both at once - I mean, have you tried? │
│ Ott: Hah! I only have a very small mouth the size of a Polo Mint. I like │
│ to try to keep things as live as possible, cos when you're working on │
│ computers, things can get rinsed out pretty easily. So the melodica adds │
│ a sort of naive wobbliness. And I play most of the percussion too │
│ │
│ damion: A lot of chilled trancey releases get lost in the digital-ness. │
│ Ott: Yeah - you can have too much silicone and plastic - I like to mix │
│ in a bit of wood and metal... microphones and shit. │
│ │
│ damion: Your studio sounds like a playground - is it like that? │
│ Ott: Oh, yeah. It keeps me occupied! I just set up Studio 2, which is │
│ entirely analogue. │
│ │
│ damion: Favourite bit of kit? │
│ Ott: Well, favourite is my old EMS System 2000 vocoder. But the most │
│ useful has to be the PC. It's amazing what you can coax a glorified │
│ word-processor into doing these days! │
│ │
│ damion: I heard you use a lot of plugins and such, and like messing │
│ about with software...? │
│ Ott: Yeah. I love to trawl the net looking for mad boffins making their │
│ own stuff, lots of Freware Plugins. │
│ │
│ damion: Whos the "maddest boffin" you found? │
│ Ott: A fella called Idris, who makes plugins with one knob on the front, │
│ with no labels. │
│ │
│ damion: Are they on the Hallucinogen in Dub album? │
│ Ott: Yeah, everything's on that album. My car is on that album... my │
│ fridge, my cat. Even my central heating gets a look in! │
│ │
│ damion: So how many sources of sound - analogue, digital, environmental │
│ - would you say went into the album? │
│ Ott: Woah, too many to imagine. I'm very wasteful when I work, so you're │
│ actually hearing about 20% of what I actually generated. │
│ │
│ damion: So will you be working with Simon some more? │
│ Ott: Oh yeah, we're plotting and planning. He only lives a few miles │
│ away, so we see each other quite a lot. │
│ │
│ damion: In which case, do you know if he's doing more Hallucinogen stuff │
│ - 'cos thats what everyone wants to know - but when I interviewed him │
│ earlier this year he wouldn't say! │
│ │
│ Ott: You'll have to ask him - I couldn't possibly comment! │
│ │
│ damion: Are you aware simon said this about you years ago: "He lives in │
│ a limestone cave in Hicksville, where he built a generator out of an old │
│ lawnmower engine, and cobbled together a studio out of bits of old │
│ televisions. - He works on an old 32k BBC microcomputer built into his │
│ chair, suspended from the roof. He has midi shoes, with which he │
│ 'tapdances' his drum parts.... But he has excellent mixing ears, which │
│ he enhances with a kind of Far-extension-hat.... so he was a natural │
│ choice to mix beautiful people...... I didn't have time to do it, as I │
│ was doing "Mi-Loony-um', and he stepped in to do "Beautiful People" so I │
│ would have them both for Christmas! I paid him with pornography." │
│ │
│ Ott: Ahhh - the old "Cave" days.... Yeah - they were good times, and I'm │
│ still wanking my way through │
│ the pornography!!! │
│ │
│ damion: Ahem. Some of the drums on the album sound fucking huuuuge - are │
│ they live? Or what │
│ special trix did you use on them? Like on Solstice, they sound like │
│ they're recorded from underwater, │
│ but not. (if you see what i mean). It's a hefty smokey sound - like │
│ venison... │
│ │
│ Ott: Hahaha! Well, I have a few bits of seriously lo-tech outboard, │
│ other people's junk, which i stick │
│ most of the sounds through because it "un-digitalises" it a bit.The │
│ drums on Solstice were recorded │
│ onto a cassette and re-sampled to make them sound all squashy... a Boots │
│ Chrome 90 if i remember │
│ right! I was doing stuff like setting up a speaker in my kitchen, piping │
│ the drums through it, and │
│ recording the room sound with a microphone to make it all a bit more │
│ organic. │
│ │
│ damion: Sort of like using old production techniques to make electronic │
│ music? │
│ Ott: Exactly. I started engineering before computers were up to the job │
│ of recording, so I've used tape a │
│ lot and I like what it does. I'm also keen on spring/plate reverbs, │
│ analogue effects (cos they react if you │
│ kick them!) │
│ │
│ damion: Well, that's pretty much all I wanted to ask... │
│ Ott: Okay... my turn to ask questions then! │
│ │
│ Ott: favourite tune on Hallucinogen in Dub? │
│ damion: LSD. Or angelic particles │
│ Ott: okay... │
│ damion: Bit biased toward LSD, as it was the first (proper) trance tune │
│ I heard. │
│ │
│ Ott: How about your least favourite? │
│ damion: Bastard!... │
│ Ott: hahahahahaha! │
│ │
│ damion: It hangs together well as an album, which I dont think people │
│ were expecting. It doesn't sound │
│ like remixes in other words. │
│ │
│ Ott: It's supposed to be heard as one album. It was supposed to be the │
│ Anti-Hallucinogen! │
│ │
│ Interview (c) 2002 Damion Brown / www.psyreviews.com │
│ Hallucinogen In Dub, remixed by Ott, is released on Twisted in October │
│ 02. │
│ │
│ (from http://www.psyreviews.com/features/ott.htm) │
│ │
│ ┌──────────────────────────────[ Tracklist ]─────────────────────────────┐ │
│ : : │
│ In Dub (Mixed by Ott) │
│ │
│ 01. Hallucinogen - Mi-Loony-Um │
│ (A Floating Butterfly Stings Like A Bee Mix) │
│ 02. Hallucinogen - Solstice (Warwick Bassmonkey Mix) │
│ 03. Hallucinogen - Gamma Goblins │
│ (It's Turtles All the Way Down Mix) │
│ 04. Hallucinogen - Spiritual Antiseptic │
│ (Minty Fresh Confidence Mix) │
│ 05. Hallucinogen - L.S.D. (World Sheet of Closed String Mix) │
│ 06. Hallucinogen - Angelic Particles │
│ (Buckminster Fullerine Mix) │
│ │
│ ------- │
│ 59:50 min │
│ 89,6 MB │
│ │
│ ┌──────────────────────────────[ PsyCZNews ]─────────────────────────────┐ │
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│ │
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│ │
│ ┌─────────────────────────────[ PsyCZGoals ]─────────────────────────────┐ │
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Files
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Size
[BMW]-[Psychedelic-2002]-(89.6 MB in 1 files of 128kbps Stereo)-[bende