Farron Shaw Cuts electronic music producer, live performer and label owner of Shaw Cuts

Introducing: Farron

Electronic music producer, live performer & label owner: Farron (DE)

About a year ago, on one summer night, I was sitting backstage at Shelter Amsterdam with Niels L. aka Delta Funktionen. I’ve been a vinyl addict for a while and a big fan of his vinyl-only sets, so when I’ve asked for it, he allowed me to go through his records that he prepared for the night. I went through quickly the bag of records, while trying to memorise all the artists that were new to me. Among them, I have come across the name of Farron. When I got home, I could remember perhaps 3 names out of the 30 and his was one of them, so I’ve checked out his Bandcamp account which resulted in the immediate purchase of 2 records (‘Legend of the Bat and Death Duel). Shortly after that, I have decided to contact him and asked him for an interview and luckily for me, he agreed to it.

I have talked to Farron a bit less than a year ago about the origins. How he got involved into the electronic music scene, which were his first releases, live acts and why did he decide to create his own label, Shaw Cuts.


Farron: I grew up in a little suburban town around 45 minutes drive away from Munich, Germany. When I was really young, music didn’t play a big role in my life. I was mostly playing outside with my friends from the neighbourhood and my older sister till the sun went down. There wasn’t anything particular that caught my ears until one Christmas eve. I was around seven, when I got my first CD-Player and together with it Michael Jackson’s double CD ‘HIStory – Past, Present and Future, Book I’. I can still remember putting on that CD in the kitchen and dancing around to tracks like ‘Billy Jean’ or ‘Thriller’. In the following months I was listening to that whole album at least hundreds of times. I really fell in love with it.

LC: Any further childhood influences that guided you towards music?

Farron: My older cousin also had a huge influence on me. I was really looking up to him and admired him a lot in many ways. He was a real Hip Hop head and a skate guy in my teenage years and I just wanted to somehow be like him. I wanted to wear baggy pants, big hoodies and skate shoes like him and wanted to listen to his music collection. I think I was around 8 or 9 years old when he showed me some stuff from the Wu-Tang Clan, from Gang Starr, NAS, some 2Pac and Biggy stuff etc. Also German rap music started playing a bigger role in my life, but I have to say that what particularly got me was the Wu-Tang Clan with ‘Enter The Wu-Tang (36 Chambers)’. When it came out, I immediately had to buy the album and got even more fascinated the more I’ve listened to it. The whole raw and dirty vibe combined with all these versatile rap styles totally blew my mind and looking back on it, I think that this album influenced me and my own music a lot. I became a teenager with some sort of music addiction from that point on. I’ve always used my headphones in any moment that gave me the possibility to listen to any music and to build my own soundtrack of the world.

Then when I turned 14, I’ve started skateboarding which has also changed my musical taste. I was getting more into (post)-punk-rock and a lot of music that was used in all of my favourite skate videos and so I started visiting a lot of underground punk concerts with my friends. Skateboarding is also very connected to the hip-hop culture, but that went a bit in the background around at that time.


Farron: I got to know Marco Zenker a bit better through skateboarding and we were also on the same school in the same grade. Electronic music was not really a thing for us at that time, but the years went by and I opened up for other musical genres as well.

When I was around 17 years old, I started hanging out with Marco on a more regular base and we became really good friends. Since we both had pretty much the same taste in music, we’ve listened to a lot of things together and one evening we thought about doing some music, too. We picked some classic Hip Hop beats and started writing lyrics that we recorded later. And damn, we were pretty whack! Marco was rapping in English and I was rapping in German and also in French (even though my French was pretty bad at the time). Making music together was much fun.

LC: So how did the two of you got involved into electronic music in the end?

Farron: Who ‘brought me home’ was actually my sister. She was the one who was into electronic music and was visiting raves regularly at the time. She sometimes told me about her crazy nights out at the legendary Ultraschall.

[ In the spoken language mostly only referred to as U-Schall or Schall was one the most significant clubs of the 90’s techno scene in Germany, next to some other clubs like (the well-known) Tresor and E-Werk in Berlin, the Dorian Gray and Omen in Frankfurt, the KW – Das HeizkraftwerkNatraj Temple, the Millennium and the (still operating) Rote Sonne  – all Munich-based clubs which opened after the Schall. ]

Farron: She also showed me some electro and techno mixes and tracks. Some of this stuff sounded kind of okay to me, but none of them had really touched me deeply at that time.

I did not know Marco’s brother Dario, until Marco told me once that he is a producer and DJ and that he was playing in the same clubs my sister was going to. When I’ve heard that, I thought ‘mhm’, maybe this could be something interesting to see and experience some day.

One night, Dario was playing at the old Harry Klein club in Munich and we took the train to join the party. This may sound a bit cheesy, but that night turned out to be a game changer to me. I’ve never experienced something like that before. The vibe, the sound in such an environment, the open and crazy crowd, the dancing and the impression of freedom – that everybody can do their own thing there was mind-blowing. From that point on we have become regular visitors to Munich’s clubs like Harry Klein, Rote Sonne or Die Registratur. We danced almost every weekend and than usually slept at Marco‘s father’s flat or took the morning train back combined with hitchhiking to our suburban places.

Because of these club-nights, I’ve started to listen to a lot of electronic music at home. Rhythm & Sound (another alias of Moritz van Oswald / MaurizioBasic Channel (together with Mark Ernestus), Ricardo Villalobos, Deepchord, Burial and several other artists got a lot of my attention and excitement. But since there was a connection to Dario, I was really amazed by his own music and his label Hometown Music – the forerunner of Ilian Tape.

Farron: Marco immediately got into making his own music and I followed him in that some months later. I was using Ableton and some crappy computer speakers in the beginning. Not to mention the computer I was using at that time. It didn’t have the power to play more arranged channels at the same time, so I always had to edit the arrangement, bounce it, check it and then edit it again, bounce it, check it and so on. Looking back at it, it was a nightmare, but at that moment, it did not matter to me at all – as long as I could produce. I was mainly just experimenting around with sounds, trying to build some loops, arrange them and then try to start the next one – probably the same way how everyone else has started. I chose spontaneously an artist name “LaChriz” which was maybe not well-conceived enough, but in that moment that was the least I cared about.

LC: When did everything start becoming more serious?

Farron: While I was still experimenting, Marco was already doing some solid music that lead to his first digital releases on his brother’s label, Ilian Tape. Seeing that pushed me a lot and so I got more into it with a more serious approach.

There was always a musical exchange between me and Marco and so one day, Marco sent a track of mine to Dario. He kind of liked what he heard and contacted me via Skype telling me that I should keep on doing what I do and that I can always send him new stuff. Some weeks later he got back to me and told me that he is planning a digital remix compilation of Marco’s ‘Namibia Dub’ EP and gave me the opportunity to contribute with a remix to the project. I was working my ass off on that remix and somehow got it signed on Ilian Tape. I cannot even put in words how happy I was about that.

But before the remix EP came out, Dario has already asked me if I was interested in a digital solo EP with several tracks and I’ve sent him some newer stuff. This is how I got my debut with the ‘Purple Mountain Meadows’ EP on Ilian Tape. Looking back it is pretty weird and also amazing to me. I don’t know how I was able to do it, cause my technical production abilities were not on point at all. I didn’t even know how to correctly use an Equalizer or a Dynamic Processor. But Dario heard something in my early stuff and I’m still thankful for that till this day. I was able to do another digital solo EP and two appearances on digital compilations on his label and I’ve totally felt like home with them. Ilian Tape was everything for me and I could have never imagined to release somewhere else.

Farron Technocity.Amsterdam TA

LC:  After your releases on Ilian Tape, what motivated you to start performing?

Farron: Shortly after the label’s financial recovery, Marco had got his first vinyl release on Ilian Tape. He was already playing live in some clubs at the time and got a residency at Harry Klein. That was another big push for me, so I started building up a live sets, too. I didn’t really expect to get the opportunity to play live at any club, but shortly before Marco‘s birthday in 2010, he asked me if I would like to play live at his birthday rave at the new Harry Klein. Of course, I’ve said yes, but I was also sh*ting my pants. Preparing the live-set for weeks, the excitement and tension grew like crazy. When the day was finally there, I was an emotional wreck. I was so nervous, not being able to eat almost the whole day and even secretly puking in front of the club. But right after the first five minutes of playing, the nervousness was gone and I knew that everything’s going to be alright. I also think that it was the perfect setting for a first gig: the club was pretty crowded, I had lots of really supportive friends there, the vibe was great and Harry Klein was generally a place I was familiar with. I have a lot to thank to the Zenker Brothers.

Due to a lack of routine in playing in front of a crowd, I’m still struggling with the nervousness a bit. It’s not as heavy as it was in the past, but it’s still somehow there. I wish that it wouldn’t be that intense before playing, but I guess that I’m not the only one with these issues. I just have to trick my mind and then I’m usually fine.


LC: Which was the next step or milestone in your music career?

Farron: In order to study, I had to move to somewhere else. The city I was living then was pretty boring. There was nothing really going on there and I was far away from Munich. Fortunately, I was lucky with my neighbours. To them, making music all day was no problem at all. I was already having some analogue synths and drum machines and so I’ve jammed a lot in my free time there. I was able to finish another digital EP on Ilian Tape called ‘Belmont High’ in 2012.

Right after that Ilian Tape stopped doing the digital-only releases and so I was trying to maybe get a vinyl record on Ilian Tape, too. I can definitely say that I wanted it so bad that I got stuck and tensed. I was feeling pretty lost with my music and that feeling lead to frustration, desperation and disaffection. That may sound too harsh, but being such a big fan of the label itself, the Ilian sound and the people behind it, I wanted to take part of it on a bigger scale. I was craving for this relief of seeing my name on an Ilian Tape vinyl record. Unfortunately, it never happened. Only when I looked back at it some years later, I understood it better, what has happened. It was a lesson for life, but it was a good lesson that an artist might need.

Farron Technocity.Amsterdam

LC: When did you get to release finally something on vinyl?

Farron: In these past years due to networking in the music industry I was able to make several new connections. I was able to release my first vinyl record on the label ‘Woods N Bass Records’ run by a Columbian friend, that was followed by a record on the label ‘Out-Er Recordings’ with the help of another friend of mine. Right after that I released a record on the label ‘Baud Music’ which was my last record under the old moniker ‘LaChriz’.

LC: And by now, your artist name is Farron and you are a label owner yourself. How did you get to this point?

Farron: I’ve started thinking about having my own label already two years before I really started doing it. At first, I had only some few ideas that popped into my mind here and there. And all these ideas and thoughts about it got more and more intense during those two years. I’ve had several nights laying in my bed for hours, brainstorming about it if I should really make that step. I was intimidated by it and I was also asking myself a lot of things: Do I have the time and energy to do it? Is the time right for it? Will I be able to handle it? Do I have enough knowledge to do it? Do I have the money to do it? And how shall I even start with it?

In the end, I came to the conclusion that all these questions will never stop. If I keep on thinking about risks and not doing anything, I will never get to know the answers to these questions and they will just keep circling around in my head. I wanted to create a platform for my own music, but also for the music of other artists who come close to my ideas and my musical vision. Driven by the desire to get more independent, things started to become more specific.

LC: How did you come up with the label name? Why did you need a new alias?

Farron: One of my biggest influences are old martial arts movies. Especially the ones that got produced by the company called ‘Shaw Brothers’. I simply love that kind of stuff! That influence became the main concept and aesthetic to my label. The reference on these movies and the company behind them can be found in my label’s artworks, press texts, the titles of the records, the logo and label name itself and also in the music and sound aesthetic.

While getting deeper into planning the label, I felt like I needed some more changes and so my moniker ‘Farron’ was born, too. I wasn’t happy with my older name anymore and it generally made sense to change it. ‘Farron’ has no deeper meaning. It’s just a name I was coming up and I thought that it suited better to the ‘breaky’ sound that I was getting more and more into.

Some years before I started setting up my own label, I used to work for a big studio in Munich where I was responsible for the quality control of DVD- and Audio-productions. There was this project together with a famous energy drink company for a DVD production of their X-Alps event series contest and one contender taking part was a guy called Pawel Faron. I think I had to watch the DVD 10 times and always thought that his name was dope, every time he appeared on screen. Maybe my brain got branded and maybe that somehow influenced me several years later regarding my new moniker.

Farron: The first release on Shaw Cuts was by me with the tracks ‘Equinox’ and ‘Apo-G’. Jonas Kopp was down to remix the A1, but I wasn’t expecting that he would send me 2 different versions that both blew my mind. I couldn’t decide which one I liked more and so I had to put both of them on the record. This was in 2015.

LC: Who was the next artist you have chosen to feature on your label?

Farron:  I’ve always really liked the music of Kaelan (and I still do). I’ve contacted him, we got to know each other a bit more and he was down for my request of him releasing a record on my label. He immediately sent over several great tracks and The Silent Swordsman’ EP was born. Kalean also works under another moniker, 2030. Truly great stuff that he makes!

Farron: The third record was again my own tracks, this time with four Farron originals. I’ve decided to do a remix EP of that record right after its release that included reworks by Marco Zenker, Poima, Roger 23 and Simo Cell. I always wanted to see Marco’s name on a Shaw Cuts record and I was more than happy that he was down to take part in this.

Poima is a Russian duo that got my attention several years ago. I was browsing through SoundCloud a bit, got on their profile and really liked what I’ve heard. Especially their Boiler Room live set left me speechless. I’ve contacted the guys and we became friends. They were also running a club called Рабица in Moscow (TA: Rabitza had to close at some point unfortunately) where we were able to organise the first Shaw Cuts label night in April of 2017. Simo Cell, the remixer of my track ‘Par-2’ also was on the line-up at that party and played an absolutely outstanding set there. Simo Cell’s productions are super interesting and fresh and his style of DJ’ing is very special. The fourth remixer was Roger 23, a guy from Saarbrücken who’s music was always very influential to me. After we got to know each other, we had several long conversations on the phone. He is somebody that always had an open ear for me. He’s a special and great person with lots of experience, knowledge and talent.”

LC: What happened next after the first label night?

Farron: In May 2017 the SC005 was released which was another solo record from me called ‘Legend Of The Bat’.

2018 started off with a record by the Russian duo Poima. It was their first solo release ever and I’m super happy that my label was the platform for that record.

Farron: And it was also nice that Regen and Ed Davenport under his moniker Inland contributed remixes to that one. My ‘Invincible Shaolin’ record have been recently released on Shaw Cuts and also includes a remix by Leibniz and I feel very content with the release.


Farron: I will definitely try to keep things going concerning the label. Plus, it is a nice feeling to be able to support other artists. Things like that let me keep going, too. I’m doing this whole thing all by myself. This is my baby and I would love to see it grow and I’m more than thankful for any support, interest and love for Shaw Cuts.

What I’ve learned in my past few years in the music business is, that often it is better NOT to see it as a business, but more as a passion. It will always stay some sort of business, but you can have your own rules in this cosmos. Maybe because of this principle I took some bad decisions and I’ve also missed some chances regarding my own musical career, but I definitely don’t want money to control everything. All I want is to make music and to play music freely, for people who appreciate it. Because that feeling is priceless.

BinaryFunction DJ and electronic music producer from the UK

Introducing: BinaryFunction

Electronic music producer & DJ: BinaryFunction (UK)

Electronic music’s surge in popularity can be explained through the concept of information cascades.

The scene emerged around the late 70s and made a few advances during the 80s, only to return underground. By the 90s, its presence was making its way into society. At the turn of the millennium the intimate, small raves of the nineties turned into parties attended by hundreds and hundreds of people. The demand called for bigger venues resulting in today’s festivals attended by hundreds of thousands. The phenomenon of web 2.0, the appearance of smartphones and social media had a major role in spreading the different genres of electronic music world wide. Many analogue equipment since have been translated into digital software that made the electronic music production part accessible to the masses, while the prices of analogue equipment have skyrocketed and DJ-ing is mostly done with CDJ’s and USB sticks instead of records and analog turntables.

There are only a few DJ’s in the current scene who can say that they have been present from the very beginning – having started off with analogue gear, shifting to digital throughout the years, yet, never completely leaving analogue behind. BinaryFunction (UK) is one of them. Next to his passion, he kept on working in his day-time job as a network analyst and since then raised 4 beautiful daughters, but he never gave up on his ambitions to make a career as a DJ and producer. Till today he is producing actively and recently had more opportunities in Germany and in the UK to perform, too.

I asked him about a year ago about his past, the present and about his future plans.

Lost.Connection: You are not a novice to the electronic music scene. When did you get involved and how?


BinaryFunction: I actually started learning to DJ in 1985  after becoming immersed in the whole hip hop scene. I saved enough money to buy my first Realistic 2 channel mixer and a pair of old school turntables from a second hand shop, and from here I started to practice the art of DMC style DJ’ing with 2 copies of Public Enemy’s Yo Bum Rush the Show album. I was completely hooked from here on in and started to make a name for myself as a DJ amongst my school friends.

My mother is British and my father is from the paradise island of Mauritius, he came to the UK in the 60’s. We had our first real family holiday to Mauritius also in 1985. I fell in love with the island and on the last day of the 6 week holiday, I locked myself in a room and cried for ages and ages because I didn’t want to leave. I think a connection was made between me and the island during this time, a connection that would come calling my name again in 1991 when I decided to leave the UK to make a new life of my own as a young bachelor. By this time I had surpassed the hip hop era and transitioned through in to the acid house and techno scene.

Around 1989 my parents bought me my first pair of Technics turntables that I had dreamed of owning for several years and I self-taught the art of beat matching. The inspiration to become a DJ came from watching legends like Jazzy Jay, DJ Cheese (winner of the World DMC DJ Championship in 1986), Chad Jackson (UK scratch mix DJ, winner of the DMC World Championships in 1987 who went on to produce the hit single ‘Hear the Drummer (Get Wicked)’ which sampled Public Enemy (vocals) and a horn loop from Mark The 45 King who gained fame with his breakbeat track ‘The 900 Number’), all the old school greats and the whole coolness of hip hop itself. I was mesmerised by the sound of the needle on the record as it was manipulated back and forth to create this amazing scratch sound. The warm sound of vinyl, the sheer joy of holding the music in my hands and having total control of the beat etc.

BinaryFunction: Manchester played a huge part in my early DJ’ing years providing me with a constant nourishment of the freshest tracks from around the world. Iconic record shops such as Spin Inn, FAT City Records, Vinyl Exchange and of course my favourite, Eastern Bloc would feed my addiction to the music. Mauritius on the other hand back in 1991 was completely behind the times when it came to the electronic music scene, with just one or two local club DJ’s playing some odd European tracks here and there. This was a prime opportunity to demonstrate my style and sound and I very quickly secured a residency within a couple of weeks of arriving on the island of Mauritius.

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To give you an idea of how difficult DJ’ing really was in Mauritius back then, try to imagine the old school disco’s where no one would approach the dance floor until that one well known track came out the speakers. In this case it would be something like It’s ‘My Life’ by Dr. Alban‘ or ‘All that She Wants’ by Ace of Base, you get the picture. But then one completely unknown track would clear the dance floor in seconds, that’s what I was faced with, and here was me, trying to drop Joey Beltram’s ‘Energy Flash’ and Jay Dee’s ‘Plastic Dreams’ to this same crowd. Don’t ask me how, but I managed to strike the right balance to keep the crowd interested and dancing throughout my entire set… well, most of them (*laughing).

LC: After having started DJ’ing and producing in Mauritius, how many years later did you win that particular DMC competition, that brought you the breakthrough on the island?

BinaryFunction: In 1995 I saw a flyer for a DMC competition from the club where I first started out in 1991. Unfortunately, I never kept hold of a copy of this flyer, but I do remember it saying the competition would be judged by French DMC officials and hosted by 1991 French DMC Champion DJ Crazy B. I had one thing in my head at the time of seeing this and that was to win the competition. It was stated on the flyer that the winner would go on to represent Mauritius in the DMC world competition and would be flown over to Reunion Island for the preliminary heats. I did win the competition in the club, with a trophy to prove and some great photos, but unfortunately the promoters of the event in Mauritius did a runner with the takings and I never made it to Reunion. I am very happy to say that I recorded my set live from the competition using a small portable minidisc recorder and it is currently up on my SoundCloud. It’s a 25 year old piece of personal history for me and it has received some great feedback. Artists in the mix include, LL Cool J, Apache, Bionic Booger Breaks, Public Enemy and more. I was competing against some 10 or so local DJ’s.

LC: In 1998 you were on the line-up before Laurent Garnier. Do you have any special memories about that particular event?

BinaryFunction: During my time living and DJ-ing on the island I started to organise some events of my own and word spread to the neighbouring island of Reunion. In 1996 I was contacted by a friend named Sylvie asking if I would like to come and play a techno set on the island. I said yes of course and a few years later Sylvie placed me on a huge event DJ-ing alongside the legendary Laurent Garnier. It was from here that I started networking and becoming friends with some of the already known DJ’s from Europe, like Jack de Marseille, Charles Schillings, Stéphane Pompougnac (most known for his Hotel Costes compilation series which got him opportunities to spin at fashion shows all around the world and also at Cannes film festival) to name a few.

Stéphane Pompougnac is most known for his Hotel Costes compilation series which got him opportunities to spin at fashion shows all around the world and also at Cannes film festival.

Charles Schillings is a Belgian House DJ, producer and sound designer and former resident DJ of Parisian nightclubs like Queen and Rex Club, as well as Le Café d’Anvers (Antwerp, Belgium). Similar to Stéphane Pompougnac, he stayed close to the fashion designer world and has regularly scored shows for famous designers such as Karl Lagerfeld and Alexandre Vauthier, as well as famous brands such as Céline, Calvin Klein, Louis Vuitton, Chopard and Armani. ]

BinaryFunction: I have many memories from the Laurent Garnier party but one of my favourites was the pre-gig dinner. I was sat right next to Laurent in this really nice modest restaurant and you can imagine me, this kid from Manchester, totally used to this VIP treatment (not). The menu comes along and I’m like wtf should I order, I had no idea so I waited to see what Laurent was going to order and I said, I’ll have the same as him please. The steak arrived, it was still mooing on the plate (apologies to any vegetarians out there), very raw, swimming in blood, what the hell did I just order? And of course I had to pretend it was exactly to my liking and so I started to eat it, each mouthful washed down with a huge glug of red wine. The moral of this story, I should have just ordered the fish and chips (haha).

LC: You yourself had been a regular clubber while living in the UK. Would you share with us your memories and experiences about club goers and the UK clubbing scene back then? What do you think has changed since?

BinaryFunction: For me it was the late 80’s when I first started going to clubs in and around Manchester. I went to pretty much all of the clubs that were playing acid house and techno at the time, but the main ones for me were the Thunderdome, the Hacienda, Konspiracy, The Orbit, Angels Burnley, Shelley’s Laserdome, The Sound Garden and many of the illegal warehouse raves mainly in the Burnley/Blackburn area.

BinaryFunction: However, for me it was the Thunderdome that changed my life forever. This club was extra special; anyone who went to the Dome often will know exactly what I mean. It was dark, gritty and moody-as-hell, a pretty dodgy place, but man, purple ohms, double dipped strobes, banging shiny techno, need I say more…

BinaryFunction: Some of the tracks that stuck with me from this era were Future FJP – Liaisons D; Rhythm Device – Acid Rock; Adonis – No Way Back; 808 State – Pacific; The Beat Club – Security; Joey Beltram – Energy Flash & Mentasm Second Phase; NJOI –Mindflux; Lil Louis – French Kiss; Shades Of Rhythm – Sweet Sensation – just too many classics to list them all here. Fast forward to the present day and the music has evolved in to different genres of house and techno, I like to listen to what I call organic techno, Mathew Jonson, Silent Servant and Sebastian Mullaert are amazing producers and their music is an excellent example of this style.

LC: In 2004 you have moved back to your hometown, Manchester and since then you have been honing your production craft and DJ’ing skills, waiting for the right moment to breakthrough in the UK as well. What was the reason for moving back?

BinaryFunction: After marrying my Mauritian girlfriend and having children, my wife and I decided it would be best to return to the UK and start a new life, better education for our kids, better careers etc. Since then I have continued to DJ (at home) and have become much more serious about producing. I had 12 years at the top on the island and decided the time was right to focus on family. It was a really tough decision but one that I made self-consciously knowing it was the right choice if I was to give our children the best start in life.

BinaryFunction: I DJ and produce purely out of passion, music is in my blood, I breathe and live for it 24/7 non stop. If I do well from what I love doing the most, then ultimately this means I can give more to my kids, and that is priority for me. I want my children to grow up being proud of their dad, giving them the message never to give up on something that you are really passionate about. If you love it enough, your time shall surely come, and if it doesn’t, then it wasn’t meant to be, but you had at least fun. I will continue doing what I do with the music till the day I die, no matter what. I have been loving the music, the scene, the DJ-ing, the clubbing; all of it for over 35 years, it’s in my heart forever.

LC: Among all the producers out there, do you have anyone you look up to in the current electronic music scene?

BinaryFunction: Around 2008 I was introduced to music from an artist known at the time as Maetrik, and before Maetrik he went under the name of Mariel Ito. I’m a huge fan and personal friend of Maceo Plex and all of his work. He manages to fuse house, techno and electro in a way I’ve never heard before and he is without doubt one of my biggest influences at present.

BinaryFunction: Of course there’s no getting away from my Hip Hop roots and the wide spectrum of other legendary electronic artists that have influenced and inspired me along the way. Such artists include – Kraftwerk, Pink Floyd, The Doors, Bob Marley, Hendrix, Hawtin, Mills, CJ Bolland, Arthur Baker, Vangelis, Chemical Brothers, Leftfield, and lots and lots more.

“[If] I didn’t get a good reaction on a record, I’d just rip it off, break it up and throw it on the dance floor.” – Arthur Baker

 LC: Which one do you enjoy more, DJ’ing or music production?

Binary Function: That’s easy – DJ’ing. The day I get to play in front of a crowd will be the most exciting day of my music life. Sure I did this years ago whilst growing up and living in Mauritius, but to break the mold here in the UK, Europe and the US feels like an impossible task.

LC:  Thank you, Paul and good luck!

LP review: Delta Funktionen


“Hello children, for this year’s excursion we have organised a fantastic trip: a one week journey to The Parallel World! A world where its leaders decided to go back in time rather than moving forward. It will be a mind bending excursion. It will be great. We will ignite the Delta Craft torpedoes next Tuesday 8am sharp and leave one hour later with warp drive towards The Parallel World. We shall experience the power of at least 17 trillion Frisian horses, can you possibly imagine?”

Delta Funktionen’s newest LP (released on 2017-06-27) takes us on a trip to a Parallel World.

This piece of art is more than just a musical journey. It is also a very serious statement in its own, very special way. The album’s description, written by the Berlin-based, Frisian underground electronic music producer himself, could easily be the first chapter of an Asimov or Philip K. Dick novel. But just like these novels, Delta Funktionen‘s short stories, too, are only disguised as science fiction. In reality, they are cynicism of a very real world that doesn’t seem much affected by technological progress. In order to explain this more thoroughly, hereby we quote Asimov who said: “The saddest aspect of life right now is that science gathers knowledge faster than society gathers wisdom.”

scifi science fiction sciencefiction scenery Paris 2029 year imaginative drawing airplanes spaceships flying over city creator duster132

Clever words from a man who lived in the twentieth century. As we are getting closer to 2020, looking at the current world order, makes us question, whether the emotional maturity of mankind will ever be able to handle the advantages of the currently ongoing, fast-paced technological progress or will these technological developments always be a slave and a tool of abuse to those few in power? Will the new generations be able to make better choices than their ancestors? Will they choose to be part of the classified sector, will they rebel and become part of a sting operation or will they simply stay out of the political games and rather try to save what is left there to save?

These are the questions that the album, Junior High School Excursion to the Parallel World is trying to discuss.


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