#45 - Quinoline Yellow
After Oberman Knocks’ superlative cut n paste hip hop, ambient, techno, electronica, experimental, electro, house romp we now welcome a mix that ably takes the eclectic and off-beat baton as SKAM, Touchin’ Bass and Uchelfa man Luke Williams, aka Quinoline Yellow drops another off-kilter bomb of a mix for the EPM Podcast series.Featuring music from the likes of Steve Reich, Boards of Canada, Aphex Twin, Photek, Blame Justice and Autechre to Future Sound of London, Kool Keith, Tangerine Dream and Whitney Houston with spoken word and sound recordings from Chris Morris Peter Cook, The Conet Project and Luke’s own Tatamax alias, Quinoline Yellow delves ever further into the outer reaches of the DJ mix with 55 minutes of captivating experimentation and dancefloor suss.
Luke Williams can recollect from as far back as 1994: loitering in Ambient Soho, holidaying in mid Wales, pushing trolleys, nineties London pirate radio, consuming lamb chops, buying and selling electronic music making equipment, playing arcades, attending university, meeting Myles Haughton, noise ploughing, redeploying musical Minidiscs, signing to SKAM Records, performing in the UK, Europe, Japan and meeting a diverse range of compatible humans along the way.
Luke Williams has released an extensive catalogue of electronic music under his Quinoline Yellow and Tatamax pseudonyms which are predominantly found on SKAM and his own imprint Uchelfa. In the not so recent past he has been delving into numerous remix projects for a variety of producers.
EPM Podcast 45 – Quinoline Yellow: tracklist
Tatamax - LDLD IV (Uchelfa)
Steve Reich - The Four Sections (Andrea Parker Remix) (Nonesuch)
Autechre - Silverside (Warp)
The Legendary Pink Dots - 834 (Beta-lactam Ring)
Future Sound of London - Max (Astralwerks)
Chris Morris & Peter Cook - Eels, Love and Guns (BBC Radio Collection)
West Philips - Sucker For a Pretty Face (Vocal) (Quality)
Boards of Canada - Nlogax (SKAM)
Zoviet:France - Mana (Charrm)
Aphex Twin - Untitled (Warp)
Aphex Twin - On (28 Mix) (Warp)
Stars of the Lid - The Artificial Pine Arch Song (Kranky)
Chris Clark - Shonny (Warp)
Firefox & 4-Tree - Warning (Powder Mix) (Philly Blunt)
FBD Project - The Core (Johnny Jungle Remix) (Bang-In Tunes)
Photek - Ni-Ten-Ichi-Ryu (Science)
Autechre - Altibzz (Warp)
Kool Keith - Regular Girl (Funky Ass)
Vulva - Birdwatch (Rephlex)
Push Button Objects - Lockligger (Schematic)
Whitney Houston - I Wanna Dance With Somebody (Who Loves Me) (Acapella) (Arista)
The Conet Project - Phonetic Alphabet - NATO (Irdial Discs)
Tatamax - Ebychiad64 (Uchelfa)
The Conet Project - NNN Hungarian (Irdial Discs)
Astrobotnia - Lightworks (Rephlex)
Duplo_Remote - Begin Message Map [-] (Unreleased)
Aphex Twin - Btoum-Roumada (Warp)
Alder & Elius - Albino Love (The Consumers Research & Development)
Geraint Ffrancon - Night Remixes (Quinoline Yellow Remix) (Electroneg)
Peppatits - 19/02/08 (Resonance FM Podcasts)
Tangerine Dream - Rubycon Part 2 (Virgin)
Blame & Justice - Essence (The Jazz Testament) (Moving Shadow)
Unknown - Instant Confidence - (Unknown)
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Q&A with Quinoline Yellow
1. Please give us a quick run through the mix. What inspired you to choose these tracks?
It’s been a long time since I’ve put a mix together and I really enjoyed it. In terms of track selection, they are just songs that layered together nicely in my ears. I like mixes that have spoken word over things and that style wise, veer all over the place. Perfect for listening where ever and for keeping me personally attentive, probably not so great if you were planning your debut set at ‘Fabric’.
2. For a mix that takes in so many jumbled genres it also seems to make sense. Did you already have an idea of how you wanted it to flow?
Thanks, to be honest I’ve never been big into mixing and DJing. Most of my mates had decks and stuff when we were growing up but I wasn’t really fussed. Seamless mixes of beat driven stuff is lush when it’s done well but I tend to lean towards the more ‘jumbled’ style experience as you put it. I had some idea of how I was going to piece it all together and I certainly had a definite start and end structure in mind. I’ve had a few of the mixes as ideas in my head for ages, especially the Photek/Autechre one. I’m happy with it.
3. You used to ‘loiter in Ambient Soho’ in the 90s. Do you still frequent record shops, or do you miss the camaraderie that used to exist within the confines of the ever-decreasing world of independent record shops?
That record shop was an integral factor in moulding my outlook on music, exposing me to different scenes and being able to interact with people older than me at the time. I suppose I do miss that camaraderie and familiarity that can blossom from a single fixed location. I kind of liken it to how you once played video games with people. If you wanted to test your skills against somebody, you had to get up out of your house and go to an arcade, an actual place! There was etiquette, challenging rules. You had to develop people skills, perhaps build relationships and vibe out accordingly. That type of practice is perhaps lost on the online video game player, like it might also be with the people that frequent whatever the virtual equivalent of a record shop community is. The Internet makes everything so easily accessible that information can become super transparent, super-fast that any mystery and exertion you may normally apply in the real world can quickly dissolve. People don’t have to leave their homes as much these days to trial new scenes, trends, artists or whatever. You can pick and choose how you intermingle effortlessly. Maybe the vastness of choice is too great that individual focus is diminished.
Anyway (laughs), the flip to all that is obviously now you can pretty much share music, ideas and your obsessions with millions of humans anywhere in the world rather than a handful of people you might meet one Saturday, in a shop on Berwick Street.
4. How did you come to release on SKAM?
I sent a bunch of Minidisc’s off in late 99 and got a response from three labels. Lee Norris (founder of Neo Ouija Records) phoned me for a chat and mentioned in passing that my tracks were well SKAM and that I shouldn’t be surprised if they got in contact. A week later, my mate who I lived with at the time gave me a somewhat vague and incomprehensible message that my mate ‘Jed’ from ‘skad?’ or ‘skim?’ had called, but hadn’t left a number. Thankfully he called back the following day and the rest is history (laughs).
5. When recording new material how do you separate Quinoline Yellow material from Tatamax? Is there a process or does it happen by default?
The hardware is essentially the same just the process and execution is different. TX stuff can merge into a QY idea but it doesn’t commonly work the other way around. Without delving too much into the technicalities of it all, the TX stuff encompasses more of the studio as a whole and is often driven by large portions of live recordings to both tape and hard disk, while QY is more structured, automated and regimented in approach. I guess if you were already familiar with the musical content of both pseudonyms, you may have come to that assumption already.
6. Although your music exists outside or on the edge of most dancefloors does club music and clubs in general still play a key part in your life?
Totally, I love a good jungle or electro night. Personally, I still have a bit of time for that type of environment, a good sound system, the general dynamic and the humorous scenarios and characters you associate with clubbing. Since the smoking ban though, more places seemingly smell of sweat and toilets which is not ideal.
7. If you could curate your own club night, what would your dream line up be?
There are loads of people living and dead I’d quite like, but as its pure fantasy I shan’t ponder too long on this. Currently I would choose all the old Kool FM Dj’s and MC’s playing early nineties jungle sets, followed by a handful of live bits and bobs from a few select mates. That will do for now.
8. How do you occupy your time outside of music?
I teach and work with young people. I mess around with graphics and print. I play a bit of football still. I try to find time to see my buddies and to listen for the colour of the sky.
9. How has your live set evolved over the years?
Not as much as I probably would have liked actually. I went off performing for a while because I hadn’t put the creative blocks in place to make it as enjoyable or as fluid as perhaps it should have been. I used to take loads of kit out in the earlier days in big old flight cases. The practicality of transporting it and the time taken to setup and pack down were just not feasible and my poor old studio kit was taking a bit of a pasting. These days I have a mixer, controller and a computer that operates from a single flight case, it’s all integrated and loads more fun. It’s much better now.
10. Please give us your all time top 10 – your Desert Island discs:
Blimey, there are hundreds of tracks that rotate in and out of that top 10 from day to day. I would say that it is impossible to elect 10 definitive discs or tracks, doesn’t everyone say that? At this moment in time and in no particular order I would pick…
Art of Noise – Eye of a Needle (Lemon D Remix)
Potential Bad Boy – Work The Box
Cool Hand Flex – Wip Lash
Nirvana – Drain You
The Special AKA – What I Like Most About You Is Your Girlfriend
Adam F – Metropolis
Duplo_Remote – I Remember When You Wrote Tracks
Man Parrish – Boogie Down Bronx
One of many Aphex Twin tracks
One of many Autechre tracks