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
I grew up in a small village 20 minutes away from Stuttgart, the main city in south-west Germany and still live there, making music and working. It is a great place to live.
This mix was recorded during Mannequin Records label showcase at OHM club in Berlin. Do you share the label’s concepts and ideas?
As for me, Mannequin Records is a label producing high-quality sound; I’ve been collecting their records since the very first release. I like mixing different music in my sets: from techno to various styles of synthwave. Releases of some artists from this label go along with my tastes and perfectly fit into my collection.
You organized your first party in 1987 and performed 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 putting something from Frankie Goes to Hollywood, Depeche Mode or Anne Clark. Years after, some interesting and quality things, which I’ve added into my collection, appeared in the field of the “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; I still remain at the intersection of different styles as in 1987, though, with a wider choice of options.
You once said that most DJs prefer not to step beyond one style and you, on the contrary, always try to combine things. Now more and more artists prefer quite 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 putting exclusively house or techno. Secondly, digital format and modern technologies put DJing away from being elitist, making it a common thing, available for almost everyone: there are lots of new artists and music nowadays. Moreover, the recording industry re-issued many records that were inaccessible until recently, being too rare or expensive.
In another interview, you mentioned you prefer vinyl to digital. What do you think about this now?
Sometimes I digitize some records to make edits or a remix; still, I mostly use vinyl and cassettes. Buying vinyl, I support artists and the record industry.
As a collector and producer, I think that this is the only right way to release music. Making a parallel release in digital format is good, but I'm not going to let music exist only in digital. With this in mind, I hope that lots of artists will keep supporting vinyl 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. After that, I started building my own studio. It took four years to collect needed equipment to record my first full release. Now I have something coming out not that often as I’ve got many other tasks and responsibilities besides music. So I share my music as often as I have the energy and time for 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 performing in a small club, which name I forgot. It was cool, I had a great night. It has been many years, I would gladly return to this city.