We present a selection of 5 Tacks, by Maayan Nidam, ahead of her performance at MUTEK X
This afternoon MUTEK’s 10th edition will kick-off. For the special occasion, DJ Mag Spain has summoned Maayan Nidam, ahead of her set this Friday 8th, at the Nocturne 1 program taking place at Nitsa/Astin.
Maayan Nidam’s music makes an authentic claim to diversity: growing up in Tel Aviv, Mediterranean, Jewish, Arabic and Eastern European traditional song wafted through the air alongside pop hits and rock ballads; youthful world travels added more layers to the mix, bringing her to Berlin’s underground clubs, where her global sensibility took root in techno.
‘One For Sorrow’
I remember getting a ride with a friend to a gig in another city. It was a long drive so to pass time I played mixes I’ve recorded at home and when this track came up I disclosed it was my strongest inspiration when writing music to which my friend, a DJ himself, replied somewhat baffled ‘This one?’.
I understood his confusion as there were no obvious elements that popped out other than the ethereal voice and a chunky bass-line that appears for quick visits rather than a stay. Passing that through the car’s speakers made it impossible for my driving buddy to absorb the foggy frequencies this track holds and blurred out hints of melody that were available to my ears by memory and attachment.
To me, this ‘fog’ of long open electrically created cymbals was as meaningful as every melancholic moment lived, expressed in an almost cinematic manner, effortlessly telling a tale that words would fail to tell.
I’m almost sure I’m not the only one attaching great meaning to this record as it was considered rare or at least hard to get for many years before notably reissued at the end of last year.
DJ Slip’s productions tend to give a little extra; there’s a ‘gift’ in every track and as I listen to this record, the bar raises and with it so do my expectations of music played and heard.
At the end of the 90’s, going to small underground raves in Tel-Aviv, listening to the djs that shaped my forming standards, I began adding techno records to my collection of vinyls, remembering the ‘extra’ with every record added.
In the summer of 2003 I was staying with my sister and a friend in downtown Manhattan. Every single day I was visiting a different record store, digging through whichever music it had on offer.
I don’t remember looking for anything specific and with only a couple of years of playing records behind me I didn’t identify myself with any specific scene.
I was getting Minimal Techno, Acid House, Breakbeat, Drum & Bass, Jazz and even some scratching tools from Turntable Lab.
One day I was at the now closed Sonic Groove record store.
It took barely 20 seconds of listening to ‘V’ before I charged towards the clerk and asked ‘this music! do you have some more of this music?’
They didn’t as it was a relatively new kind of sound, only beginning to bubble up in the states in sets from Magda and Richie Hawtin at MoMA’s PS1 – where I heard Ricardo’s Easy Lee for the first two times, a couple of months prior to its release on the ground-breaking Alcachofa album.
This sound esthetic was new to my ears. It added purpose to my search and a skip in my step on the big journey.
A beautiful emotion that takes me back to 2005, hanging with Shaun Reeves, Ryan Crosson and Ryan Elliot at the Detroit basement, lovingly named Tesh-Club, under the rented house of Lee Curtis and Seth Troxler who at the time was named Young Seth and did some work for FXHE records.
The days and nights spent in that basement, playing records, listening to productions in the making and endlessly talking shit had unprecedented influence on my perception of electronic music as a uniting force, meant to be shared, meant to connect.
[Children Of Tomorrow]
When asked to prepare this list I was thinking that I must note a record from Terrence Dixon but it’s so hard to pick one as I so often play a record from his prolific body of work.
If you follow my sets you probably heard Multiply on Thema or his remix to Vicari Street from Andrea Festa on the more recent recordings. In addition to these current favorites I often carry with me his releases on Tresor, on Background or as Population One on his own imprint Reduction.
This track, Change, on Children of Tomorrow, was featured on my XLR8R podcast back in 2017 and was picked for its ability to transfer the listener almost instantly to a different space and a different time – a favorable kind of travel.
Lee esta entrevista, en castellano, aquí/Read this interview in Spanish here.