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Photo by way of Ken Street

As the landlord of the label Planet Mu, Mike Paradinas has overseen over 400 releases, from the Nineteen Nineties to the current day. His personal paintings has been considerable too, and plenty of of his albums, whether or not as label head or musician, were a very powerful within the historical past of digital song.

Best referred to as μ-Ziq amongst his slew of monikers, this month marks the twenty fifth anniversary of Lunatic Harness, Paradinas’ masterpiece below the identify and a vintage of the IDM generation which, particularly on an upcoming boxset reissue, resounds in crystalline bliss. A reclusive pioneer, his melodic main label debut introduced the generation of the ‘bedroom producer’ simply as digital song started to float from the dancefloor to the web. Its rhythmic distortions additionally presaged Planet Mu’s catalogue of breakbeats rooted within the lineage of jungle, techno, hardcore and gabber, and lift their crucial DNA via new mangled abstractions.

Paradinas freely deconstructs influences, his breakbeats various from soaring to death-rattling. It’s thrilling to listen to Paradinas’ opinion on golf equipment lately, particularly as more youthful ravers search out increasingly more frantic BPM levels. But now greater than ever, residing in Hove along with his spouse and kids, he listens to song at house. “I used to get anxious to go out clubbing but I had to do it to play gigs,” he says. “These days? Not by choice.”

Paradinas first began making song in his early 20s in his bed room whilst nonetheless residing along with his mom, exploring a boundless global the use of a 4 tune tape recorder and another way restricted apparatus. From his paintings as an unknown artist on Aphex Twin’s Rephlex label to his leap forward with Lunatic Harness on Virgin, his distinctive standpoint delivered to the membership a playground of sounds out of doors of its institutionalised repetitiveness. Though rooted in a second incessantly related to seriousness, the countless canvas of sound offered to Paradinas an impulse for frolicsome irony. A collaborative album with Aphex Twin in 1996 as Mike And Rich, Expert Knob Twiddlers, drew on ’70s living room references with a way of humour past the stereotypes related to IDM.

“It is quite fun, but it’s never really gone down well with AFX fans because they’re a serious bunch,” recounts Paradinas. “We wanted to get rid of the idea that all electronic music was po-faced, which at the time in 1994 was quite prevalent. Everything was serious and there was no humanity or humour to it. I suppose the other side to it was that we got a bit… fucked. On weed, alcohol and a couple of tabs of acid. And we were fooling around. Maybe it just is a bit shit.” As rave splintered additional on the finish of the 90s, Planet Mu’s frantic breakbeats preserved it. The obsessive breakcore of Venetian Snares, Hellfish or Shitmat maximised on visceral chances, amplifying absurdity with high-tempo samples and convulsive, distorted rhythms. Dubstep below Planet Mu featured rave’s dusky atmospheric residue, and additional percussive mutations in footwork compilations curated by way of Paradinas crucially introduced the Chicago-born style to the United Kingdom. As genres accelerated and disintegrated, Paradinas’ personal expansions infused their shreds with an artistry that, although self-effacing, imbued them with a mysterious, residing substance.

Genres like breakcore have since massively mutated on-line. But Planet Mu’s catalogue, in music early with the scattered mindset of an web consumer, stays constant in generating subject material which simply descends underneath floor stage. He casts an enormous shadow, and offers us perception into his affect by way of ten individually decided on tracks from all through his profession.

µ-ziq – ‘Hector’s House’ from Bluff Limbo
(1994)

This used to be considered one of Paradinas’ firsts, created even sooner than his debut on Rephlex. A jazz flute-like melody rises atmospherically over an eruptive rhythm which nonetheless has the similar unusual softness. Paradinas explains that his 4-track tape recorder considerably outlined the ramshackle really feel of his early information. “You have these little sliders which you could raise the level with, which I did with the drums so it would distort onto the tape. While you’re moving the EQ it makes this beat. I’d been listening to industrial stuff like meat beat manifesto.” ‘Hector’s House’ used to be impressed by way of a travel to Paris whilst learning structure at college (he in the end dropped out), his first ever in another country tour. Its identify used to be named after French Art-Nouveau architect Hector Guimard, but it surely’s additionally the identify of a children’ TV display, which Paradinas says he didn’t find out about on the time.

µ-ziq – ‘Dance 2’ from Bluff Limbo
(1994)

‘Dance 2’s shimmering sounds had been impressed by way of Phillip Glass’s minimalist ballet compositions, explored via a pal’s dad’s report assortment in Paradinas’ teenagers. Synesthesia hyperlinks minimalist avant-garde composers and 90s electronica: “It’s because it sounds like sequencers,” explains Paradinas. “Phillip Glass had a very disciplined piano player called Michael Riesman who was robotic in his performances. It was amazing to hear these on an old organ, sounds like synthesisers and everything, but it was all done live. It would be far easier to do on sequencers, which were already invented then. I suppose it’s the whole thing where you don’t get the grant money if you don’t use the orchestra or something, but I find the result very beautiful.”

Tusken Raiders – ‘Foifol’
(1993)

Under the pseudonym Tusken Raiders (a Star Wars reference, just like Tom Middleton and Mark Pritchard’s Jedi Knights), Paradinas explored the irregularities of hardcore and jungle via scuffled science-fiction. His alien worlds – not like Aphex Twin who caught to analogue – in part derives from early 90s virtual equipment residing in short-lived technological time frames. “By then I had a DAT machine. Aphex kindly gave me his old one,” says Paradinas. Digital audio tape, a past due 80s invention by way of Sony supposed to exchange analogue tape cassettes, had been for some time utilized by manufacturers as approach of storing virtual indicators. While now occasionally brushed aside as paperweights on hi-fi boards, it led to a revolution to engineers on the time. For Paradinas it performed an enormous phase in his granulated textures. “Actually, I’ve got one here. Does it still work?” He presses a button and jumps. “My kids have put a fucking tape in the DAT machine! They’re not supposed to take those…”

Mike & Rich – ‘Vodka (Mix 2)’ from Expert Knob Twiddlers
(1996)

“When I signed to Rephlex, Richard [James, Aphex Twin] used to invite me around his house. He’d invite us up with some of the other artists like Chris Jeffs [Cylob], and also I met Luke Vibert there. I heard Squarepusher’s music for the first time. It was in Stoke Newington, just a dingy student house.” Paradinas compares it to Spaced, the sitcom. “That was an evocative time because he would play all his unreleased stuff. He would give you drugs or bully you and try to be weird, to get you out of yourself I suppose.” During the 1994 World Cup, ’Vodka’ used to be the primary music conjured by way of Mike and Rich in combination of their informal classes. Its percussive mechanics have the jittery attraction of a three-d board sport, and its zany synths may just accompany an early PlayStation display screen. At a time when such a lot techno used to be happening that there wasn’t room for far else, the 2 inadvertently drew from their mutual interest about difficult to understand digital experiments from the past due ‘50s and early ‘60s. Meanwhile in their wider surroundings, genres were shifting at an absurd rate. “By then jungle was taking over the pirates, and we were still making techno so we actually left it behind,” he recalls, presaging Aphex Twin’s Hangable Auto Bulb, in addition to Lunatic Harness.

Jake Slazenger – ‘Daytime Kiss’ from Makesaracket
(1995)

‘Daytime Kiss’ by way of Jake Slazenger (any other alias invented with Richard James) is a sedated tune the place keyboard interludes twinkle above a liquid groove, that Paradinas calls “my tribute to the kind of street soul they used to play when Kiss FM was still a pirate. Back then, when I used to live in Raynes Park, you couldn’t get any pirates except for Kiss. I had my dad’s record player, and the record bit didn’t work anymore but the radio did. The only way you could listen to interesting music you never heard before was by tuning the dial. They used to play reggae, soul and funk, and that’s the only place you could hear that in a very white suburb.”

µ-ziq – ‘Secret Stair #1’ from Lunatic Harness
(1997)

Not lengthy after performing some remixes for The Auteurs, very good evaluations of Bluff Limbo in NME began to trap main labels. Paradinas used to be approached by way of two, however whilst London Records had Orbital, he went for Virgin who had The Human League. Lunatic Harness would grow to be his leap forward. A floating aggregate dense in its main points, Lunatic Harness’ tracks lengthen in atmospheric layers, with breakbeats and baselines unravelling in unusual periods and with the interjections of a newly obtained sampler. It gifts an immaculate instance of drill and bass, linking the intensities of his previous Rephlex information with the emergence of jungle, and past that it performs via in its completely like a unusual fathomless quest. Despite the acclaim of tracks like ‘Hasty Boomer Alert’, ’Secret Stair #1’ is a non-public favorite. “Often I’d start a track by looking at someone else’s track and trying to do a cover version, and I think the track in question was Blur’s ‘Beetlebum’. There’s also a ‘Secret Stair #2’ on the album, but the second part I originally wrote before that was amazing. Basically, when I was working on it the electricity turned off in my flat. I had one of those meters where you actually have to put coins in and it ran out. We often lost tracks like that. I got everything turned back on later and tried to do the same thing and it didn’t work. But in my head, the original ‘Secret Stair #2’ was the best track I ever wrote.”

Slag Boom Van Loon – ‘Light Of India’ from Slag Boom Van Loon
(2008)

On the door of Dutch hardcore DJ Speedy J’s studio used to be a sticky label that learn ‘Slag Boom Van Loon’, inspiring the identify of a brand new collaborative challenge. “I think it means ‘door security system’ in Dutch. Probably the manufacturer of the alarm or something.” With Speedy J doing techno and Paradinas jungle rhythms, the collision of 2 powerhouses in the beginning proved sophisticated, however after somewhat unwinding the method flourished into a collection of gorgeous ambient tracks. “It’s different than anything I’ve done before, it’s maybe got more Jochem [Paap, Speedy J] in it than me,” says Paradinas. “We sort of found a pastoral place to exist in where we could make tracks with each other. We also had an Indian meal, and we were cycling through different presets on his synths when this sitar sound came up and we just decided to use that. So that’s ‘Light of India’.”

µ-Ziq – ‘Grape Nut Beats Pt.1’ from Bilious Paths
(2003)

We flip to a brutalist maze of a composition from 2003’s Bilious Paths. “This was post-Venetian Snares, I suppose he inspired me, as well as Aphex Twin who’d just released Drukqs.” Paradinas used to be specifically into hardcore and gabber between the years 1998 and 2002 and DJed incessantly in that length. Originally a Rude Ass Tinker remix (a cheeky anagram of Tusken Raiders) for Hellfish’s Deathchant label, it takes samples of ‘Witchhunt’, a tune from Hellfish and Producer’s Bastard Sonz Of Rave, and kilos it into unusual time signatures.

Heterotic – ‘Rain (feat. Vezelay)’
(2014)

A collaboration along with his spouse Lara Rix-Martin, often referred to as Meemo Coma, gifts a misplaced pop vintage with a depressing attractiveness. Around the time in their marriage, the 2 used to look at DVDs and write songs in mattress in combination to be in a while despatched to vocalists. Here, the falsetto of French singer Vezelay whispers in a Lynchian uncanny. “It came out around the time all that washed out stuff like Toro y Moi did, and was influenced by all that sort of stuff. But it couldn’t get released for two years so by the time it did it was old news I guess.”

µ-ziq & Mrs jynx – ‘Secret Garden’
(2021)

Released remaining 12 months had been 10 tracks made in lockdown with a pal Hannah Davidson, a Manchester-based artist who releases song on Planet Mu as Mrs Jynx. ‘Secret Garden’’s mellow explorations are actually a part of a strategy of therapeutic after each had no longer lengthy misplaced a mum or dad to most cancers. Paradinas first reached out to Davidson. “I sent her a few stems and their bpms in a Dropbox folder and we started finishing each other’s track. The mix-down took a while but it all came together in about 10 days. ” It’s a small utopia the place far-off resources of sound convene so satisfyingly, and the place electronics glide and glisten at their biggest natural capacities.

The twenty fifth anniversary version of µ-Ziq’s Lunatic Harness is launched on July 7 as a 4xLP field set

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