Cxemcast 048 – Mick Wills
01. Bakunin Commando - Neon Brain
02. Front 242 - Welcome To Paradise
03. Kirlian Camera - News (Room 506 Edit)
04. Retrograde Youth - One Last Try
05. Vault - Up Through The Concrete
06. The Twins - Water Coaster
07. Intergalactic Gary & Pasiphae - Disconnected
08. Liquid G - The Power Of...
09. DMT - Вечная Война
10. Black Meteoric Star - Deceptive Surfaces
11. Robert Bergman - Buoy
12. The Mode - Balance
13. Silent Servant - Stationary
14. Levon Vincent - Birds
15. Richard Bartz - Subway
16. Jeff Mills - Humana
17. The Holy Ghost Inc. - Mad Monks On Zinc
18. Motip White - Ocus
19. Levon Vincent - Untitled
20. Bookworms - STE-027
21. Head Technician - Zones
Do you spend a lot of time in native Stuttgart?
I grew up in a small village 20 minutes away from Stuttgart, the main city of south-west Germany and still live here, doing music and working. It is a great place.
This mix was recorded during Mannequin Records label showcase at Berlin club OHM. Do you feel close to the idea and concept of the label?
I always thought of Mannequin Records as a label producing high-quality sound and I have been collecting their records beginning with the first release. I like to mix different music in my sets: from techno to various styles of synth wave. Releases of some artists from this label go along with my tastes and perfectly fit into my collection.
In 1987 you organized your first party and played there as well. How did your tastes change over the last 30 years?
Back in 1987, I played a wide range of music from synthpop to early house tracks. I liked to put something from Frankie Goes to Hollywood, Depeche Mode or Anne Clark. Over the years, interesting and quality things, which I’ve put into my collection, have appeared in the field of "new dance music" (I mean new beat and techno). For the last 15 years, I’ve been researching on italo disco, minimal synth, EBM and electro, while still remaining at the intersection of different styles, as in 1987, though with a wider choice of options.
It is difficult to compare music of that time and what I play today: a lot of new music was produced, besides my knowledge of the old one became much deeper. For many years of digging, I’ve put together considerable collection, many things out of which are real treasures, and I love sharing it with the dance floor.
In an old interview, once you said that most DJs preferred not to step beyond one style, and you, on the contrary, always tried to combine things. Now more and more artists play eclectic sets. How would you explain this trend?
I think this trend is primarily linked to the recently formed need to escape monotony: you can’t surprise anyone by playing exclusively house or techno. Secondly, digital format and modern technologies have put DJing away from being elitist to being a common thing, made it available for almost everyone - there are many new artists and music nowadays. Moreover, the recording industry re-released many records that were inaccessible until recently, rare or expensive.
In another interview, you mentioned you prefer vinyl to digital. What do you think about this now?
Sometimes I digitalize the tracks to make edits to them or do a remix, but mostly I use vinyl and cassettes. By buying vinyl, I support artists and the record industry.
As a collector of vinyl, what do you think about the role of this format and its future?
As a collector and producer, I think that the only right way for my music is to be released on vinyl. If a label makes a parallel release in digital, it's good, but I'm not going to let music exist only in digital format. With this in mind, I hope that many artists remain supporters of vinyl format and industry will continue to develop and grow.
You started making music in 1997, but the first release came out only in 2001. What was happening during these four years?
In 1997, I released one track on CD-compilation I made at the studio of Klangstabil. Afterwards, I started to build my own studio. It took four years to collect the equipment, which I could use to record my first full release. Now I have something coming out not that often, because in addition to music, I’ve got many other tasks and responsibilities. So I give out music as often as I have the energy and time to it.
You visited Kyiv 12 years ago. What impressed you the most about the city?
I spent just a couple of days in Kyiv in the end of 2004, during the Orange Revolution. I remember playing at a small club, which name I forgot. It was cool, I had a great night. It’s been many years, I would gladly return to this city.
Interviewed by Bohdan Konakov