Interview: 5 years of Motorik & LSD Exclusive: High Concept – Love Thug

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From the birth of the label in 2012, Motorik are proud to present their new compilation album “5 Years Of Motorik: An Australian Electronic Music Experiment”.

As a label, whose teeth are deeply sunk into aesthetics and design, each track has the potential for its own visual journey; conjuring both serene and ominous optics of the Outback. Sticking with techno, the compilation pushes brassy swells and fluid organic rhythms that speak to the ancient and isolated vernaculars of Australasia. CSMNT61 (co-founders of the Australian Motorik imprint) change up aboriginal roots, by introducing the classic flanger to the didgeridoo, resulting in an extra-terrestrial euphoria in their remix of Mike Callander’s Friday Night. The compilation finishes on a light high with Ithch-E & Scratch-E offering trance-like chord progressions and weightless vocals.

 

Brothers – made of Kirin J Callinan, of XL Recordings/Terrible/EMI fame, and CSMNT61- premiered on XLR8R with Cities Machine. This track presents a type of stripped back anarchism that only techno can achieve when adhering to a more industrial ostinato. The metallic synth and careful use of sampling recreate the unworldly dense atmosphere indicative of this collective. 

 

We are happy to be premiering on of our favs out of this outstanding compilation: High Concept‘s “Love Thug”. A seductive narrative line and slick beat composition encapsulate the feel of the album. Emphasised through reductive layering, Love Thug calls upon dynamic partying.

 

The founders agreed to answer a few of LSD’s questions about the labels progress and the techno scene down under:

 
Local Suicide: Congratulations, Motorik has accomplished it’s fifth year! Now that you’ve hit the half a decade milestone, do you feel like the label is still in a transitional phase, or do you feel like you’re on a stable plateau in regards to the label’s identity? 

Motorik: Thank you! The label is fluid and constantly changing. When we started we were only releasing club releases made by Djs for Djs, now find artists bringing us music they want on the radio. It’s important for us artists can come to the label no matter where they want their release to be positioned. Motorik is an open platform which will support it’s artists new or old, wherever they want to go.

 

LSD: It’s apparent that your label is focused on pushing a rounded experience of the beats, and this is evident through your avid focus on party making. Can you talk a little about Motorik Vibe Council and why this enrichment is important?
M: The Motorik Vibe Council is all the founders together playing back to back. It normally happens as the closing act as one of our parties (warehouse, day party or festival) and it’s a great way to summarise the night. It’s always a mixed bag because you have 4 individual artists playing together, we end up jumping between all sorts of house and techno with big bpm jumps too.
Motorik Recordings was born out of necessity; no one else was releasing the music we were playing at our parties so it felt natural to bring the two aspects together. It’s definitely out gown that now through; we put a lot of effort making sure our artist get heard across the internet, in clubs and on the radio. That’s really where the enrichment is.

 

 

LSD: CSMNT61, Francis Xavier and The Finger Prince, you’re all featuring on the new compilation. How did the process differ to prior experience producing?

M: The Compilation was really an opportunity for us to put a track that wouldn’t work on an EP. Maybe something more melodic or a little more raw, when it’s put on the compilation the identity of the artist isn’t as important, it’s more about how the track fits the release as a whole.

 

LSD: Your sound convects a sturdy techno – minimal in the harmonics department, thick emphasis on timbre – but it’s playful. Which nuances within the techno scene, in both Australia and Berlin, work and why?
M: Australia is a far far way from everywhere. So by the time techno made its way to us we’d already constructed our own little avenue, we only ever get the overtones of what’s happening in Europe and it’s from that we make our own sound. That’s probably why Australian’s like things a little weirder and you can get away with much more with an Australian crowd.

 

LSD: Finally, which artists would you recommend we keep an eye on for 2017?
M: Made in Paris is definitely one which outgrowing her Australian origins. Her track ‘The Vault’ from the compilation has already been played by both Maceo Plex and Sven Vath, I can’t see her staying around in Aus for much longer. We’ve also dubbed our youngest signee’s McLean & Mai ‘the future of techno’.

 

Purchase the album here.