The Analogue Cops( (Restoration / Sabotage - Berlin)
Lorenzo Panico (DC7)
Decas (Sabotage - Uaudio)
DC7 Present ::Save The Vinyl Launch Party with The Anologue Cops ( Berlin ) & Lorenzo Panico(DC7)
The Analogue Cops ( (Restoration / Sabotage - Berlin)
Lorenzo Panico ( DC7)
Decas (Sabotage -Uaudio)
DC7 is proud to announce a new Phenomenal Concept that will take over Every Sunday from 1pm to midnight in the Heart of East London at Basing House ...!
"SAVE THE VINYL":It's a project where all the DJS and Producers will perform just with Vinyl ....!!
I LOVE 90's !!!!!
The Analogue Cops :
The Analogue Cops is the production alliance of Italian born but now Berlin based vinyl purists Marieu and Lucretio. The pair share a love for wax and unpolished, raw sounding house music which they have expressed for the past 5 years through their label Restoration Records. The label focuses on limited run, vinyl only releases pushing their solo productions, their collaborations as The Analogue Cops and the wares of like minded collaborators such as Steffi whom they produce with under the moniker Third Side.
Only recently have the duo started releasing full EPs under The Analogue Cops moniker with last year’s Neukölln EP on Sabotage Records and now the fantastic Manola EP on Restoration in February which finally answers the question, what would dub-step sound like if it was produced by Techno loving hardware enthusiasts? For the answer you’ll have to listen to the b-side ‘Wait a Second’.
Their collaborative efforts are expanding as well with a joint venture between Third Side and fellow Panorama Bar regular nd_baumecker yielding the ethereal stomper ‘Retro Vogue’, released this month.
Following their interest in analogue join t action,their last e.p. "Big Family" (RST-014) features a colaboration with Blawan on side A, and with Ryan Ellliot on side B.
In summer 2009, the founders of Restoration Records started the APPOINTMENT program, together with thier good friends of Live Jam Records.The program was developed in order to release forthright functional dancefloor oriented music on vinyl. Their highly acclaimed seminal tracks released on Live Jam Records led them to an official remix of Moodymann's "I can't kick this feeling when it hits" on Decks Reworx.
At the beginning of the summer of 2011, they remixed Steffi’s “You Own My Mind” for Ostgut Ton; the result is a groundbreaking piece of minimalism at the boundaries between techno and house music.
Lorenzo Panico aka the Napolitan born Panicman, begun his professional musical career as a DJ in northern Italy, performing at some of the most underground clubs in Milan. Playing his signature set of tech and experimental house at The Base, Plastic & Fluid clubs, his unique underground sound and popularity with the locals, gained him incredible attention very quickly and secured him sets at Colazione da Tiffany where the likes of Masters at Work, Frankie Knuckles, Peace Division and many more where regularly performing. He also played for Griff, D Squared and the McQueen clubs for Milan Fashion Week parties.
His transgression from underground emerging talent to mainstream popular DJ had been achieved in his home country in the shortest of time spans, leaving Lorenzo with a great yearning desire to try to discover new sounds and delve into production himself to develop his signature sets, Lorenzo moved to London and quickly succeeded in securing sets at some of London’s hottest clubs, namely The Cross & The Ministry of Sound.
His first track made with Optical Funk in Milan “It Moves On” released on Black & White Records in Liverpool and received great support from the likes of D. Ramirez and Tom Stephan and plenty of air time on London’s radio stations such as Kiss FM.
Lorenzo then undertook private drumming at The School of Drum and a sound design course at the Point Blank School in London.
His next release an Italian Under Pressure E.P “Techno SlimBoysTwo Vs Julius” released on Presences Recordings with an Optimal One remix of Alex Font received much acclaim and support from the likes of Kamisshake, Joe T ivennelli and Hernan Cattaneo with plenty of air play on Italian Radio and Artist of the month on Presslab Records.
Lorenzo then went on to study Sound Engineering at Alchemea College using SSL /Tape machine, Euphonix 3000 and ICON mixers with Justin Fraser from DigiDesign, Marcel Van Limbeek from Tory Amos and Haydyn Bendall formely from Abbey Road studios.
Lorenzo now has his own studio in London where he is constantly searching for new sounds from the world of Techno, Progressive, Detroit and House. Thanks to DC7 he has joined a select group of Neapolitan Techno scene worldwide touring DJs and has supported artists such as Rino Cerrone, Monika Kruse, Markantonio, Joseph Capriati, Technasia, Dosem, Danilo Vigorito, Mauro Picotto, FlavioDiaz, Kaiserdisco ,Uto Karem and Erman Erim.
Lorenzo is in collaboration with several productions in Techno and Tech house with several producers such as Alex Blanco, Oliver Schories , System Of Survival, Ivo Toscano, Marco Corvino, Sinan Kaya ,Uguru Project ,Dj Simi , Federico Scavo,Leo Mas -Fabrice , Gianni Scotto, Salvo Buonocore, Micky Piscitelli and Irregular Synth trying to develop a new group for a label that he set up Polluted Records.
Interview About Anologue Cops:
How did the Analouge Cops project come to life?
We both come from the same town, near Padova. We didn’t hang out in the same places, but when I (Marieu) moved to Barcelona, I found by chance a room at Domenico’s (Lucretio). When he moved to Belrin I decided to follow him, as the city gives more opportunities; we went to live together in De La Calles house where there was a little studio that we implemented with our machinery and right there we started producing.
The name Analgoue Cops indicates your inclination for analogical machines, what did you buy as a first, and why analog?
The first machine I (Lucretio) bought was a Korg Electribe, in 2001, when I wasn’t a dj yet; listening to other people’s records I decided to produce with machines like them, and not by computer. Fact is that when you’re used to listening to old school house music or techno – made in a certain way, with its own kind of sounds – and then you hear new records, digital ones, and try to compare them to, for istance, Jeff Mills ones, you realise that analogic is the only way to get those results.
Who are the artists that most influenced you and led you to this decision?
First of all Jeff Mills, no doubt, and Robert Hood, but it actually is a clear path that starts from Chicago House, New Jersey house, Masters at Work, disco, Larry Levan, Ron Hardy, Ron Trent, Frankie Knuckless, Blaze, then Detroit, Birmingham and UK Garage, Berlin, the Tresor.
Is there some connection between Detroit and Berlin?
Well people from Hard Wax and the Tresor did push this genre in Berlin, being the first fascinated by transatlantic music they spread this culture through the city, whereas Tresor, if we don’t consider England and a first more commercial wave, was the first european club to bring here guests from Detroit; thats why Berlin is the centre of european techno.
And why did you guys choose Berlin?
Surely because of the cheap way of life, and then, of course London as well has a great groove, but Berlin’s one’s more techno and we do find ourselves more at home here.
How was the Restoration project born?
The Restoration label was born in 2007 to “restore” the situation.
What do you mean?
The high way was lost. It’s a comeback, not a copy from the past, but an effort to bring back the supremacy of a certain kind of products. Once a record had to be played at a higher volume to beat the competitors, but then quality got lost in the process. We think our goal should be to produce music of a certain level, precisely bringing back the analogical product’s supremacy… music is for everybody but not everybody can make music: anybody can write but not all can write the Divine Commedy.
And as far as it concerns clubs, what’s your taste? Playing live or dj-sets?
We would rather dj-set, as it gives you more chance to express yourself, I mean, live experience allows you to give away your music and enthuse people, but it’s always just an hour of time, and it’s homemade stuff brought around, always rather statical, you can change it someways but in the end its what you have in your machinery, you necessarily have to soundcheck and to pay extreme attention to what’s going on around your equipment.
But I did attend on of your live and I must say I did like it, I found it better than many others…
Of course! Ours is only hardware! We are happy of performing live, but we wouldn’t love doing it always, we do need the chance to express ourselves also as djs.
And who inspires you in dj sets?
All the americans for sure, they have a different manner of mixing, with high low frequencies. One must hear the mix, it shouldn’t be hidden, it’s a more aggressive style.
Who is or has been the best dj around?
At the moment i think Theo Parrish is. After him there’s Jeff Mills when playing vinyl records, also Robert Hood and James Pennington aka Suburban Knight..we always had lots of fun when they played.
How about Italian djs?
Baldelli for sure!
How about producers? Who do you think is the best ever?
Drexciya and Jeff Mills are even, then there’s Underground Resistance, Theo Parrish, Green Velvet, Masters at Work, Joey Negro, actually old productions were always cool!
And in Italy?
Ra.h from Morphine, but he’s libanese. Stefano aka Ksoul, Volvoc aka iSoul8 from Archive, Riccio. But unfortunately these are the producers that in Italy don’t get credit enough.
What’s your opinion regarding digital, both as production and as a market?
We are not against digital production, we are against the abuse, digital can’t replace analog: you can use some VSTs etc, but the sound needs to come out from a machine: try listen our remix of Moodymann, which came out as Appointment (Analogue Corps +Live Jam aka EMG + John Swing) and then come back and tell me. As far as it concerns the market, those labels don’t exist to us, we don’t really see them as proper labels, but it’s a matter of opinions. The digital market has a reason to exist where acceed. But I do not understand spending 2.50 euro for a track: if you want a 4track album you pay it 10 and it’s more than a vinyl that costs eventually 8.
Anyways we believe that in first world countries digital shouldn’t be played, people must spend time, listen to vinyl records, select them instead of having 4000 random files.
Do you think it’s all becoming a show business?
We think that someone build some show business around it; when everybody was ok someone wanted more, and ended up ruining it all, just as it happened in italian politics.
Is there a way to restore underground music culture in Italy?
The message that it takes time to listen to a record needs to pass through, music must be listened with the best equipment, vinyl, in the best conditions, your amplifier and speakers, taking your time. In a club a good plant, a good mixer and djs playing vinyls.
Choose a record each from that bag if you manage to
Drexciya Neptune’s Lair on Tresor, and Jeff Mills Divine EP on Purpose Maker.
What do you think about Soundwall?
It surely is a great mean/portal that allows djs and producers to communicate their message, and an opportunity to get to know more for listeners and electronic music lovers, it’s italian number one!
A greeting to Soundwall’s readers?
Go listen and play always vinyl records! Ciao to everybody!
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