nautiluss

Essentials

Mon, 06 May 2013 14:37:31 -0400

Essentials

Tune into NTS radio for the next hour where I’m playing...

Sun, 17 Feb 2013 16:01:06 -0500

Tune into NTS radio for the next hour where I’m playing nothing but good music. Www.ntslive.co.uk

Watch online or try to get guest list by sharing the photo on...

Mon, 11 Feb 2013 11:05:00 -0500

Watch online or try to get guest list by sharing the photo on here or my facebook page! http://www.facebook.com/nautilusslovesyou

Photo

Sun, 27 Jan 2013 12:04:16 -0500

thefader: DOWNLOAD JACQUES GREENE’S FADER MIX Samoyed –...

Tue, 08 Jan 2013 15:24:37 -0500

thefader:

DOWNLOAD JACQUES GREENE’S FADER MIX

Samoyed – Guts

Basic Soul Unit – Late Nite Shift

Paranoid London – Paris Dub 1

Darling Farah – Body (Jimmy Edgar remix)

DIVA – Paris Stabbing (Beats)

Trey Songz – Unfortunate (chop)

Vaghe Stelle – The Platform (Samoyed remix)

Machinedrum – Part of Me

Nautiluss – Zero Gravity

95 North – Bring Back The Love (London to DC Dub)

Jacques Greene – untltd

Anthony Naples – Ill Still

Daphni – Springs

Mike Dunn presents the Deep Boyz – The Boy Beats on His Drum

Brawther – Spaceman Funk (George Fitzgerald remix)

2562 – Aquatic Family Affair

Tommy Kruise – High Klass

Nosaj Thing – Try ft. Toro Y Moi

Video

Mon, 07 Jan 2013 20:19:00 -0500

Toronto » I’m throwing my own release party this...

Thu, 06 Dec 2012 10:30:40 -0500

Toronto » I’m throwing my own release party this Saturday at Bambi’s. As it is rarely the case that I get to play a 3-4 hour set here, I will be providing the music for the entire night!

Anyone that shows up before 11PM will be entered in a draw for a free copy of the EP. If you cannot make it by then, fear not, I will also have some copies for sale.

facebook event: http://www.facebook.com/events/384397671646239/

ilovebassmusic: Nautiluss ft. Carl Sagan - ‘Halo’

Fri, 16 Nov 2012 13:42:30 -0500

ilovebassmusic:

Nautiluss ft. Carl Sagan - ‘Halo’

Today is the day. I’m happy to announce that the Habitat EP is...

Tue, 06 Nov 2012 13:10:21 -0500

Today is the day.

I’m happy to announce that the Habitat EP is out now at fine retailers everywhere! Big thanks to Thomas Sontag and the rest of the Turbo crew for their help making this happen.

digital
iTunes: https://itunes.apple.com/ca/album/habitat-ep/id569910008?wdId=32800

vinyl (and digital)
Juno: http://www.juno.co.uk/ppps/products/471159-01.htm
Clone: http://clone.nl/item25350.html
Redeye: https://www.redeyerecords.co.uk/asp/view_product.asp?id=35807
Chemical: http://www.chemical-records.co.uk/sc/servlet/Info?Track=TURBO135

Reviews:

-XLR8R gave it an 8.5 out of 10 and made it one of their XLR8R Picks.

…the release of Habitat makes it abundantly clear that Nautiluss is a project that deserves our collective attention.

Read the full review here: http://www.xlr8r.com/reviews/nautiluss/habitat

-Resident Advisor gave it a 4 out of 5.

Nautiluss’ first EP for Turbo was like a breath of fresh air precisely because it was a blast of noxious, suffocating smoke: filter-happy techno tools that could stand their ground with the most ruthless of Luke Slater tracks. Already a veteran but new(ish) as Nautiluss, Toronto-based Graham Bertie is as restless as ever, and follow-up Habitat is the pleasantly baked morning after for alpha’s bacchanalian exploits.

Read the full review here: http://www.residentadvisor.net/review-view.aspx?id=11870

- Teshno thought highly of it.

…throughout this ep, surfaces are metallic in hue and abstract in design, yet come together with an almost metropolitan sheen and sleekness. everything feels clean and alive, busy and bustling like any major conurbation, and the results are well worth checking.

Read the full review here: http://www.teshno.com/2012/10/nautiluss-habitat-on-turbo.html

- Earmilk gives it 5 thumbs up.

This month Nautiluss is expected to release his next sequel for Turbo, the Habitat EP and it does more than stack up to his previous solo outing.

Read the full review here: http://www.earmilk.com/2012/11/02/nautiluss-habitat-ep/

teshno - teshcast y ~ nautiluss

Tue, 06 Nov 2012 12:45:48 -0500

REad the interview here: http://www.teshno.com/2012/11/teshcast-y-nautiluss.html

redshape – departing [delsin]
ambalance – ritzy [cdr]
faltydl – hardcourage [ninja tune]
four tet – lion [text]
nautiluss – elysium [cdr]
xxxxxxxx – xxxxxxxxxx
barker & baumecker – schlang bang [osgut ton]
xxxxxxxx – xxxxxxxxxx
grown folks – high tide [cdr]
randomer – this train [hemlock]
daphni – pairs [jialong]
daniel avery – taste [phantasy sound]
nautiluss – stygian [turbo]
drexciya – danger bay [clone]
trevino – shank [3024]
basic soul unit – swept up [nonplus]
jimmy edgar – sex drive (jon convex remix) [hotflush]
chaos in the cbd – rolling 84′s [cleckleckboom]
guy andrews – confuted
nautiluss – surfeit [turbo]
j. tjin – schroedinger [cdr]
luke slater – love (maybe forever mix) [novamute]
duke dumont – reclamation of trance [cdr]

caylery: ~~~ new surgeon mix ~~~ yay Chicago Skyway -...

Thu, 25 Oct 2012 17:22:33 -0400

caylery:

*~*~*~ new surgeon mix ~*~*~*

yay

Chicago Skyway - Heavens & Angels (Extended Version) - MOSDEEP001
Jake Conlon - Pull Your Neck In - PRTP003
BMB - In Another Country - LTECH002
The 65d Mavericks - Estrangement of the Past (Surgeon mix) - Surface
MPIA3 - Mountains Of Ash - R&S
Milton Bradley - Alien Rain 2B - Alien Rain
Sei A - Hypen - HEK020i
Peverelist & Kowton - Raw Code - Livity Sound
MPIA3 - Roly Poly Babs - R&S
Randomer - Freak Dub - HEK018
WK7 - Higher Power (Hardcore PCK Mix) - PH303
Reeko - Electrical Phenomena - Pole Group
BMB - Dead Sun - LTECH002
Fishermen - Anchor Buoy - Skudge
WK7 - The Avalanche (Original Mix) - PH202
Braiden - Belfry Tower - RH044
Stephen Brown - Fuego - Theory041
Error Ética - Quasar (NX1 Remix) - Psychoskunk
Shadows - Distorted Images (Mike Parker Remix) - AVN006
Karenn - Sailing Solvents - SHEWORKS 004
Truss - Splot - OCS006
Alex Coulton - Bounce - Livity Sound
Paul Mac - Resident Problem
Untold - Breathe (Nautiluss remix) - Hemlock
Tripeo - First Trip (B) - TRIP1
Truss - Beacon (MPIA3 Definition) - OCS006
Paul Mac - Hotel Insomnia - EPM Music
Innerspace Halflife - Wind - MOSDEEP12
TR \ ER - UC - BROS001
Untold - Stop what you’re doing (Kowton remix) - Hemlock
Cut Hands - Krokodilo - VFSL102

Much thanks to Resident Advisor and Andrew Ryce for the love....

Sat, 25 Aug 2012 23:18:00 -0400

Much thanks to Resident Advisor and Andrew Ryce for the love. Lots of talented folk in this article.

Original article can be found here: www.residentadvisor.net/feature.aspx?1652

Toronto’s new guard

Canada’s biggest city has seen an explosion of new talent emerge in the past few years. RA’s Andrew Ryce profiles the wave coming up behind Art Department, Basic Soul Unit and the like.

It’s difficult to pinpoint exactly what happened, but there’s been an explosion of intriguing new dance music talent emerging from Toronto over the past few years. You know some of the names: Art Department, Basic Soul Unit and Azari & III, for example, are acts that have broken through on an international level, and there’s plenty more behind them. Outstanding producers of all ages are emerging and bringing raw, passionate sounds with them, from the bedroom-techno of Kevin McPhee to Gingy & Bordello’s unleaded machine funk to Nautiluss’ Berghain phantasms and Jesse Futerman’s gorgeous downtempo meanders. It’s even rejuvenating the older crew, with canonical Toronto names like Mario J re-entering the scene more vital than ever before.

It would be impossible to highlight all of the good music coming out of Toronto at this very minute, and they come in all shapes and sizes. There’s Egyptrixx, who comes from an indie rock (and black metal) background and now finds himself aligned with the neon-rave of Night Slugs. Nacho Lovers, a weirdo-house duo who keep most of their stuff under wraps, are one to watch. So is Bwana (currently residing in Leeds), who makes soap opera sagas out of dubstep overflowing with heartsick synths. XI, the dubstep-turned-house producer who acted as a mentor and role model for so many young artists before relocating to Berlin in late 2011, is also on a huge hot streak at the moment. (Look for an EP from him in collaboration with former Toronto resident Adam Marshall at some point in the future.)

So take the selection here as a mere outline of the inspiring new guard, the future of Toronto as the clichéd phrase goes, helping to redefine the city’s underground party landscape and even more so its musical output, through their inspired and original productions.

Gingy & Bordello

£1.25 MP3 / WAV

Iron & Water (Turbo)

Brian Wong (Gingy) and Anthony Galati (Bordello) met in university in the smaller town of London, Ontario, where Wong was courageously throwing techno parties in a wasteland of what he calls fratboy house. “Anthony was always the guy whistling in the back of the DJ booth, and I told him to stop doing that. Through that we became friends,” Wong recalls with a laugh.

Galati is quick to credit their relative isolation in London, Ontario as necessary to developing their own sound. But they now feel more at home in Toronto. “There’s lots of cool guys here like Basic Soul Unit, but it’s only over the past year or so that it’s been a more encouraging environment for the music we like to play.” Wong adds that “a lot of dubstep kids have gotten into techno, and dubstep is huge here. It’s the James Blake effect—’post-dubstep.’ All the kids are going to James Blake and Mount Kimbie, and now they’re making D’Angelo and Ostgut-Ton mashups. They’re Shed fans now.”

While it might not be fair to call it retro, there’s something roots-y and approachable about the duo’s hearty techno, which they say has opened them up to Toronto’s fussier scene of OG ravers. Galati explains: “Toronto’s a little fragmented. You have your true ravers from the ’90s who are still doing that if they’re still alive, and then there’s the older crowd who’re into Crosstown Rebels, kind of in their own world, and then there’s guys that just love techno.” The fragmentation is physical, not just musical, with Wong blaming the lack of a “real hub” for the absence of crossover between musical generations.

Tiga’s Turbo label—the imprint they’ve exclusively released on so far, and where Galati previously interned—is certainly a player in the rising prominence of techno in Toronto, though the duo aren’t sure who gets the credit. “We liked a certain type of music before we had a track on Turbo, and now the people we’re trying to bring into the label are more reflective of that sound, not necessarily the same Turbo of two years ago,” says Galati. The association certainly hasn’t hurt, however. The duo are now playing places like London’s fabric, Paris’ Social Club and an upcoming gig at RA’s Horizons date in Vancouver.

“The way things are looking [in Toronto] is quite encouraging. When we go to a party where Prosumer is playing and it’s fucking packed, that’s a great sign. Everyone wants to be super real now, ‘purists’ who didn’t know who Levon Vincent was a year-and-a-half ago.” But maybe that’s a good thing. “There’s an innocence, a naivete, about the kids we party with. When they’re really getting into stripped-down techno for the first time and everybody’s losing their minds, there’s a certain magic to it. We played a very mainstream club in Toronto a few months ago, and we were playing Woody McBride tracks, and people were losing it—that was a good feeling.”

Exeter

88 MPH (Scion Sessions)

Evan Doyle is another somewhat recent transplant to the city, having arrived five years ago for university education—though he admits he picked the school he did just to get to the megacity, knowing it would nourish his musical side. His roots are largely removed from dance music; he picked up all sorts of instruments as a child, settling on the guitar, before seeing Animal Collective live circa 2007 quite literally changed his outlook. “I had to know everything about the equipment they were using. I read up on the history of samplers, got myself an MPC1000 and have been at it since,” he explains. Fast forward a bit and he was accepted into the Red Bull Music Academy 2011, which later led to a Canada-wide tour with fellow alumni Martyn and Egyptrixx.

Exeter’s sound doesn’t quite fit with the Turbo-related artists in the city, nor is it easily applicable to post-dubstep house or other bass-oriented music—instead, his music takes influences from hip-hop, funk and the glistening yet pillowy sounds of modern R&B. He calls it “hip-hop techno” himself, and you can hear where he’s coming from with tracks like “88MPH,” recently released through Scion Sessions. It teeters around a gentle R&B melody, exploding into sheets of neon-filament sound, meshing house hi-hat patterns with a hip-hop swing. His stuttering edit of The-Dream’s “Fast Car” is another highlight, turning a simple cut-and-paste job into a joyfully jittery anthem that elevates the original’s giddy Prince-isms into something otherworldly.

“I love it in Toronto,” he says. “We have a lot of promoters doing a lot of different things… there aren’t many weekends [where] an artist I love isn’t coming through, [and] I’ve felt nothing but welcome since the moment I played my first show.” Despite his relative paucity of releases so far, he’s already got an accomplished live set, a DJ/live hybrid where he guts his own tracks and plays percussion live, mixing them in with bits and pieces of his favourite songs from other producers. With a bevvy of new material ready to send out to prospective labels and a live set that’s gaining in reputation, Exeter looks to be one of the most interesting and unpredictable names going in the city.

Milano

£1.25 MP3 / WAV

The Fall (Turbo)

OK, so maybe we’re cheating a little bit here. Milano is the new alias (actually his middle name) of Mario J, a Toronto veteran who founded the enormously influential Industry Nightclub, started a label with Kenny Glasgow and Murat, another label with DJ Sneak, and also had an ongoing project with Glasgow called Method Men.

Though he admittedly doesn’t spend a lot of time in Toronto these days due to a busy touring schedule, his view on things is a little different. “In the ’90s, promoters seemed more creative with marketing and venues. The scene was new and infused with lots of fresh sounds and ideas. These days it seems harder for a young promoter to get started as they are not competing with large independent and major concert companies,” he explains, also emphasizing the lack of venues. He’s quick to credit the intimate Footwork club—which reserves its Friday nights exclusively for local talent—as his favourite spot, claiming it’s “infused with spirit,” and admits that Toronto “does seem to be producing artists that [outside] people are interested in, which is a very positive thing for the city.”

The music Mario makes as Milano is rough-and-tumble, raw and dirty. “I don’t like to think too much or overproduce tracks. For me it’s about the primal energy in the moment.” It shows in tracks like “Wasteland,” which sounds like it’s getting swallowed whole. His tunes consist of more white noise than your average techno banger (which is saying something), and his output on Turbo thus far has aligned him nicely with the younger generation of techno talent that seems preoccupied with the same jagged sound palette. Not having released much music since 2000, the Milano project puts him firmly alongside the new breed of Toronto techno.

Jesse Futerman

Dawn Wawn (FreeForm)

“I became fascinated with turntablism and I wanted to be a scratch DJ. That failed terribly; I would invite people over to my house to hear me scratch. They’d stare at me. It would be very awkward,” remembers Jesse Futerman. As you can tell, the Toronto DJ/producer is more rooted in hip-hop and especially Ninja Tune-style downtempo than the other producers here, but his music is easily as vital and hungry. Futerman makes slow and deliberate tunes based on the typical rare groove fare of jazz, funk and soul, but there’s something in his beats that feels extra taut. Just ask Gilles Peterson, who first picked up on his music when he was still producing under the name Supertoaster.

Futerman makes no bones about how being located in Toronto has affected his musical career. He met a local Ninja Tune employee who helped school him in Ableton, and crossing paths with Kevin McPhee was an important moment as well: “He set up my turntables, and started mixing house for me, and I’d never seen anyone blend house like he did. That was really influential for me and the way that I mixed… it was an eye-opening experience. When I was 15 or 16 years old, I didn’t know there was anyone else in Toronto making beats, I was just sitting at my computer. But there’s quite a community here.”

Even so, it’s been hard for Futerman to find an audience, especially with what he called, initially, “a very bad live set.” It didn’t help that audiences didn’t know how to react to downtempo at peaktime. But partly due to the influence of McPhee, Futerman has started to incorporate house into his sets to much more positive effect. That, and his recent move to “jumping around like an unkempt gentleman and sweating a lot. I guess people liked that,” he chuckles.

Crowd reception and word of mouth not only earned him agency offers for future gigs but also attention from underground electronic juggernaut R&S, who signed a forthcoming track of his to their ambient/downtempo subsidiary Apollo. “It’s almost like a house track but without a 4/4 kick, so maybe not,” he explains, “and that release will be that uptempo, funky boogie track mixed with my downtempo stuff. It’s still very surreal to me. I make this in my basement, and I have a really good time doing it. For R&S to contact me and want to sign me to Apollo is a dream come true.”

Nautiluss

£1.25 MP3 / WAV

Sabbath (Turbo)

If you’re familiar with Graham Bertie, chances are it’s through his work as one-half of Thunderheist. He spent most of the past decade in a drunken touring haze with the band. Like Milano, though, he’s an artist well into his 30s with plenty of history, so it’s almost no surprise to hear the change in direction he’s made with releases as Nautiluss on Hemlock—showing his softer side—and the storming Alpha EP on Turbo, four slices of rip-roaring techno infused with a sly swing and bass-wise barbarism.

Bertie moved to Toronto about five years ago, but he’s found the scene hard to completely settle into. “Our Thunderheist shows were always packed. I thought ‘yeah, I’m gonna live here, I’m gonna DJ, and I’m gonna make all this money,’ and then I started a residency at the Drake Hotel with Andrew Ross from Nacho Lovers, and it was just dead for most of the shows,” he admits, “I realized that I was a local, and nobody here gives a shit about locals.” Despite the apparent proliferation of local talent, the Toronto that Bertie speaks of isn’t exactly appreciative all the time, at least not outwardly: “there are some good things here—it’s just like everyone has their own posse, and they rarely intersect.”

When asked why that is, Bertie isn’t so sure: “The city’s huge. There are a lot of people here, there’s a lot of shit going on all the time, but there’s very little common ground. I went to a Thoughtless party at this basement spot, and the crowd was dancing to the kind of stuff that I would play, but they’ve got their residents and their out-of-town headliners, and in this town you can only go till 2, so how many DJs can you fit on a bill?” Indeed, that 2 AM cutoff that plagues much of North America is still an issue in Toronto, leaving less room for local talent—”it’s a headliner-heavy town, and sometimes it’s hard to see this bigger thing that we’re all a part of.”

Nonetheless, Bertie belongs to a diverse community that all has something in common: a love for house and techno. For Bertie, this interest was kindled during a stint in Berlin. “I started experimenting pretty heavily with techno in early 2010. But I wasn’t able to play it while I was in Thunderheist. I had to trust other people who were playing ‘Mixed Numbers’ out that it sounded good,” he says with a chuckle. “I showed it to Kevin McPhee first, ten minutes after I bounced the first version, and he was like ‘I’m gonna press it into a dubplate,’ so I thought that was a good sign and sent to it to Gingy, who asked to send it to Bordello, who sent it to Turbo’s label manager Thomas, and then half an hour later Turbo wanted me to hold the track for them. It all happened within an hour of when I bounced the song.”

Despite his issues with the scene, Bertie sounds optimistic about the city’s current state. “People are open to the idea of this music. I don’t even think it’s techno, I think it’s just danceable stuff with elements in different genres. People are just doing their own thing. Toronto is finally being accepted as a place that can make music that isn’t just seen as derivative of other places.”

Jokers of the Scene

£1.25 MP3 / WAV

Organized Zounds (Fool’s Gold)

Jokers of the Scene are the duo of Linus Booth and Chris Macintyre. The two initially met in Ottawa (about 450 km away from Toronto) at Booth’s former record store and began a series of parties in the Canadian capital called Disorganized (assisted by Bonjay member Pho). The smaller community allowed them to develop naturally, and “the best part of establishing ourselves in Ottawa was that we lived in our own bubble,” Booth explains, “we started [Disorganised] by playing the music we wanted to hear in a small forty person loft.”

Disorganized soon swelled in popularity and “turned into the trendy night that [it had] initially started to be the alternative to.” They then turned their attention towards their original productions—which they originally created for the party—and found themselves with plenty of label interest, namely A-Trak’s Fool’s Gold empire which has released most of their discography to date. Where to go next? “We thought about Berlin and LA… but with as many friends and peers and family in Toronto, it was the easiest and most obvious choice to make. The forward-thinking approach [of local promoters] was not only a draw for us but I feel is attractive for the younger and new members to the community as well,” Booth says of his current hometown.

Despite occasionally lighthearted song titles like “In Order to Trance,” the duo’s sound is tough and techno to the core, just dressed up in pretty synthesizers and hummable melodies. Their latest EP J0T5 is easily their best work, overstuffed with ideas but with tracks long enough to let them bloom in full splendour. They have a fondness for overwhelming synth sounds and intense layering, as seen on the shoegazey “Killing Jokes II” and the bulldozing “Organized Zounds,” while earlier work like the nine-minute epic “Joking Victim” saw them trying on their space disco hats to just as potent effect.

“Toronto is the perfect environment for us to refocus on what we do and reflect on where we’re at with our career,” explains Booth. “We’re not on the road as much as previous years, which has allowed us to focus on branching out as musicians.” The duo have even found time for side projects, including the post-punk disco of Blank Capsule, as well as Bohemian Groove and a new project called Neighbourhood Watch that Booth promises will “bring together various members of the community.” They’re quick to credit Toronto’s scene with helping to encourage and maintain their musical inspiration. “Toronto has essentially allowed us to regain some of the experimentation and excitement and recapture that early spirit that [we] felt when starting all of this more than ten years ago.”

Kevin McPhee

Kevin McPhee - I Will (Hypercolour)

There’s probably no other artist in Toronto who so neatly defines the growing crossover between house and bass music than Kevin McPhee. His debut release was the crumbly, heartbroken 140 BPM weeper “Get in with You,” followed by rickety house on Idle Hands and the world-weary Blue Organ EP on Hypercolour. Lately his attention has turned towards a rollicking, forceful sort of techno with heavy traces of Blawan, as evidenced by his recent RA podcast.

McPhee was introduced to electronic music through hip-hop, making rudimentary beats in Reason and noodling guitar over them, which eventually led him to drum & bass. “I grew up hearing loops and stuff, but I had no idea how involved Toronto was in the scene in the ’90s. I would go to the record store Play de Record to pick something up for sampling, and the guys who worked there stared to put stuff aside for me because I was going there often enough, and it became more dance music-oriented than sample-based stuff.”

He eventually started going out in Toronto, though, to dubstep nights. “I would only go to specific shows, but it was a strong community, you’d see the same people over and over again. There were plenty of nights where I wouldn’t talk to anyone. But you often start to talk to people as a result of standing alone, and Toronto was certainly a friendly community.” His productions earned him attention abroad and close friend XI set up some gigs for him locally, and suddenly he found himself part of the scene.

“There’s a lot of production talent coming out of Toronto which is getting people more attention. I know when I first started going out, going to a locals night had a stigma. You’d just hear songs you’d heard a million times played pretty poorly, but now it seems like that because there are more producers, going out to a locals night you’re going to hear more ‘forward’ music.” It’s safe to say that McPhee is a part of that himself, having started his own night Threshold with Nautiluss, Nacho Lovers’ Andrew Ross and his close friend Ronnie Falcon, whom he regularly claims is one of his favourite DJs. “There’s always variety [these days], I don’t have to hear 4/4 all night… I usually come out of a night in Toronto hearing stuff I didn’t expect.”

http://www.residentadvisor.net/feature.aspx?1652

From the vault. Free download here: ...

Thu, 23 Aug 2012 13:06:44 -0400

From the vault. Free download here: http://www.mediafire.com/?hehdtoju6xeebmj

PlayGround Mix 089: Nautiluss A trip to the centre of the...

Mon, 02 Jul 2012 12:11:00 -0400

PlayGround Mix 089: Nautiluss

A trip to the centre of the present deep-house revival (with mountains of bass)

By Franc Sayol,Tuesday, June 19, 2012

Although Nautiluss is part of the new wave of producers bringing about the renovation of the Turbo label, Graham Bertie (the man behind the name) isn’t exactly a rookie. In the mid-noughties he had some success with Thunderheist, a duo he formed with female MC Omalola Isis Salami, whose sound was a brew of speedy bass and electro-rap. However, after an album on Ninja Tune subsidiary Big Dada, their track “Jerk It” being included on the soundtrack of “The Wrestler”, and touring the world, Bertie got tired of the clubber fuss and decided to go back to his roots. Roots which, as he explains in the interview below, are firmly planted in the most irate brands of techno, as promoted by the likes of Jeff Mills, Dave Clarke, and Robert Armani in the 90s. Despite obviously being indebted with those sounds, Nautiluss’ music still features some ingredients from British bass music, and from the electro-techno sound associated with Turbo, making for some productions on which the classic (stern chords, dry rhythms) and the contemporary (those swollen bass lines) go hand in hand.

Furthermore, his two deliveries so far are proof that Nautiluss is an open-minded project, unafraid of venturing both into nocturnal and gliding beats, like on his split single with Lord Skywave on Hemlock, and going straight for the dance floor, like on the excellent “αlpha” on Turbo. This panoramic vision is also expressed in the mix he made for PlayGround, including several PG favourites on the tracklist, such as John Talabot, MCDE, Jacques Greene, and Untold, among others. We spoke to the man about his musical education, what drives his music, and the bustling electronic scene in Canada.

Hi, Graham. How would you introduce yourself to someone that’s never heard of Nautiluss?

Nautiluss is a labour of love. I promise it will be from the heart. Aside from that, I apologize in advance.

What kind of music did you listen to growing up? Do you recall when and why you got hooked on electronic music?

I grew up in Hudson, Quebec. I went to a French private boarding school run by monks just west of the island of Montreal. I lived nearby, so I actually went home at night. During the week I hung out with a lot of French kids who liked metal and 70s rock music and who believed that Pink Floyd “The Wall” was about their life at school. This was contrasted with hanging out with English kids in my hometown that listened to grunge and rap music on the weekend. I basically got introduced to electronic music in my last year of high school when I heard someone threw an all-night rave in my high school hockey arena illegally. This made no sense to me. It took me a long time to realize that what I was hearing was the sound of UK hardcore. Shortly thereafter, I went to a store downtown called Dutchie’s which used to sell electronic records and CDs. I remember that I bought “Orbital 2” (brown album) as well as one of the early “Trance Europe Express” compilations. That was my starting point for the music. I was also fucking around with some shareware programs for PC called Fast/Impulse Tracker which let me build primitive loops using samples in a grid.

We first knew of you as a member of Thunderheist. Is the project still alive or will you focus on your solo career from now?

Thunderheist is most certainly dead. I am concentrating on a number of different projects, some of which are solo things and some are collaborations with other artists. I’m trying out a more traditional role producing for younger artists and trying to get involved in scoring for film and video games as well.

Your recent EP for Turbo feels very connected to the spirit of classic techno, although it has a contemporary flip. Do you agree? What would be your main influences in terms of techno producers?

Yes, I would say that it definitely is rooted in classic techno. As far as primary influences, it’s hard to pinpoint, really. I’ve been listening/DJing for long enough that it’s all quite blurred together. I first discovered techno through people like Robert Armani, Juan Atkins, Jeff Mills and Dave Clarke in the 90s. I would say that in the last couple of years, I’ve had time to take a renewed interest in it. Mostly stuff coming out of Germany and sometimes the UK.

In contrast with “αlpha”, your release on Hemlock with Lord Skywave showcases a much more introspective, melancholic sound. Can you explain a bit about the story behind the release and how the tracks came up?

I wrote the instrumental to Ultraviolet in a particularly tumultuous time in my life and so that would explain its sombre nature. As to how it ended up being a collaboration: I was originally contacted by Simon Lord when he was planning a solo EP under the name Lord Skywave and was looking for instrumentals to sing over. I immediately thought to send him the instrumental to Ultraviolet as I had written it a month earlier with a falsetto-ranged male singer in mind (in my head it was Thom Yorke). His EP also was to feature several other producers; namely Untold, Lukid and Cosmin TRG. The EP never got picked up and so we resent it out as a single and, lo and behold, Untold really loved it and wanted to put it out. I chose “Bleu Monday” for the b-side. I wanted to show that I could both work with artists and do songs on my own. I was feeling quite anti-club at the time and so I made it very subtle and not very DJ-friendly.

“While I have

a lot love for a

nalogue/digital

machines,

there’s nothing

like the natural

world for

interesting

sounds and

patterns”

Both your productions and the mix you made for us seem to seek a balance between raw energy and a certain idea of airiness. Do you agree? How would you describe the kind of sound you aim for when you make music and you DJ?

I generally try to write music that tells a story. The mood depends on my mental state at the time of writing. Aside from that, I generally try to find the balance between synthetic and organic textures. While I have a lot love for analogue/digital machines, there’s nothing like the natural world for interesting sounds and patterns, especially in this age of digital perfection.

How, when and where was the mix recorded?

I haven’t had a proper DJ setup at home in about 10 years, so this was all done in Ableton in my studio last night. I am a pretty solid DJ and would totally love to.

Other than the ones you’ve included in the mix, what other current artists do you find inspirational?

Artists that take chances. Artists that believe in themselves regardless of what others think. Artists that find a way to incorporate traditional and new ideas in a refreshing way. Artists that try to find a way to incorporate their upbringing/culture into their work.

It seems like there’s a lot going on in Canada nowadays with producers like Jacques Greene or Lunice and more pop-oriented things like Grimes. How would you describe the Canadian music scene? Do you feel attached to it in any way?

While I find that the output is very diverse, there seems to be some common ground between a lot of great artists here. I find it’s often a combination of growing up on North American pop music and, often times, European electronic music culture. It’s also a melting-pot of culture. I guess I feel attached to it in the sense that I am Canadian and I make electronic music. I try to help build our community in any way that I can.

In the same vein, you’re now part of Turbo, a label which I guess has been quite important in the development of electronic dance music in Canada. Were you connected with Turbo in any way before you signed with them? For instance, did you ever go to the parties that Tiga was throwing?

No, I wasn’t, aside from being friends with a few guys signed to Turbo (Gingy & Bordello). But I did attend warehouse parties/raves that Tiga was involved with in the 90s and I used to shop at DNA records, where Turbo was founded.

Finally, what are your immediate future plans? Releases, gigs, etc…

Releases: I have a song coming out on a Turbo compilation called “New Jack Techno” which drops next week. My next original EP should be out in early fall and I’m aiming to release my debut LP sometime before March 2013. Also a bunch of remixes and collaborations are in the works. As for shows: There’re plans to return to Europe in the next few months and throughout the fall. I’m finally getting a new work visa for the US, so I hope to do some American dates soon as well.

Duration: 01:00:52

Arpanet: “Wireless Internet” [record makers]
John Talabot: “So Will Be Now ft Pional” [permanent vacation]
Motor City Drum Ensemble: “raw cuts #6” [MCDE]
Nautiluss: “Cloud City” [turbo]
Sepalcure: “The One (Kevin McPhee Remix)” [hotflush]
Nautiluss: “Untitled” [white]
Midland: “Placement (Lone Remix) [aus]
Para One: “Lean On Me feat. Teki Latex (Hrdvsion Remix) [marble]
XI: “Nightlif [new kanada]
XXXXXXXXX: “XXXXXXXXX”
Lazer Sword: “Let’s Work feat. Jimmy Edgar [monkeytown]
Geeman: “Bang’t” [clone]
J. Greenspan: “Crown Princesss [jialong]
Trevino: “Backtracking” [the nothing special]

Resident Advisor gives αlpha a 4 out of 5. Resident Advisor...

Sat, 26 May 2012 12:20:00 -0400

Resident Advisor gives αlpha a 4 out of 5.

Resident Advisor Reviews Nautiluss αlpha EP

Words: Andrew Ryce
Label: Turbo
RA Rating: 4/5

Graham Zilla’s debut as Nautiluss last year on Hemlock seemed to place him in the “bass music” camp, but his debut for Tiga’s rejuvenated Turbo is straight techno. Indeed, “Mixed Numbers” ticks all the boxes you’d expect from modern, industrial-influenced techno: white noise-soaked chords shooting out from a steam-powered engine, suspended hi-hats, and skronky melody, it’s a persuasive take on musclebound Ostgut styles. “Sabbath” seems to work from the same template, letting that central synth riff snake out just a bit more amidst chiming motifs and metal-on-metal collision.

Betraying his non-techno roots, “Cloud City” limps on a broken beat as it butterflies its repetitive motif, splaying it out and flattening it before building it back again. Doing the broken thing one better, “Spidercrawl” is essentially “Cloud City” with a knife stuck in its joints, filter-happy and staggering in pseudo-dubstep fashion. With each progressive track on Alpha Nautiluss lets in a little more light and melody, and that’s what makes his particular brand of techno so exciting. It’s a North American take on German techno that works within orthdoxy but does its best to transform and mutate within those confines.

http://www.residentadvisor.net/review-view.aspx?id=10878

Ex-Thunderheist Producer Stalks Away From Booty Bubblegum...

Mon, 07 May 2012 14:47:01 -0400

Ex-Thunderheist Producer Stalks Away From Booty Bubblegum Past

Nautiluss

April 25 2012, 3:17 PM ET
by Philip Sherburne

I had expected Graham Zilla to be gruffer, more taciturn, more intimidating — more in keeping, in other words, with the vibe of αlpha, his new EP (as Nautiluss) for Montreal’s Turbo Recordings. It’s stern stuff, after all, especially the A-side, with its bruising bass lines and muddied sonics, stumbling like a boxer who’s beginning to tire and all the madder for it. Lurking darkly in the margins between bunker techno and bass music, it’s a far cry from the ebullient EDM that Turbo has been known for. More like MDM — misanthropic dance music.

But over the phone, the Toronto musician comes off as chipper, eager, a little self-deprecating; an all-around nice guy, in other words, which isn’t exactly in keeping with his last project, either. Thunderheist, a duo with the Toronto singer Isis (Omalola Isis Salami), turned out raucous, occasionally ribald music in the spirit of booty house and Baltimore club from 2006 to 2010. Signed to Ninja Tune subsidiary Big Dada, they charmed the blogosphere (including Perez Hilton), landed a track in a strip-club scene in The Wrestler, and established a rep for excess. Zilla describes it now as a “four-year drunken mess,” with Nautiluss as the hangover cure.

It’s not just Zilla who is out to reinvent himself; Turbo’s release of the Nautiluss EP coincides with a shift in direction for the label. While their catalog has ranged from deep house to minimalist techno, the imprint has been known for the cheeky, over-the-top sounds of artists like Chromeo, Boys Noize, and Mr. “Sunglasses at Night” himself, label owner Tiga. But with recent signings like the industrial-tinged Gesaffelstein, techno brooder Locked Groove, and acid revivalists Gingy & Bordello, Turbo is expanding its remit, pushing back against North American EDM’s increasingly populist tendencies.

I talked to Zilla about crossing over, starting over, and learning from your mistakes.

Hi, Graham, how are you?
I have some sort of death flu going, it’s pretty awesome.

Maybe you can make some dark, twisted, death-flu music out of it.
I’m definitely working on it.

You live in Toronto now, but you’re from Montreal; is that where you discovered electronic dance music?
Yeah, totally. Most of my formative years were in Montreal, and then I moved to Toronto about five years ago. [I discovered electronic dance music] my last year of high school. There was a rave in my school’s auditorium, like in the hockey arena. I had no idea how this happened, how they got permission, and it just really intrigued me. This was right around when Tiga was helping start the whole warehouse rave scene in Montreal. So that was my start; it’s funny that I ended up on his label.

How does Toronto’s dance music scene compare to Montreal’s?
Toronto’s a huge city, so every music scene is fairly big, but there’s so much going on that people get spread out. It can get hard to have a proper vibe at parties here. I actually haven’t been playing all that much; I just stay home and make music instead. Montreal is definitely more laid-back. Berlin’s similar in this way. Because of the lower cost of living, a lot of artists end up there, so people will make do with a lot less money. They party more, but the problem is that nobody has money, so nobody wants to pay to go anywhere. You can’t really make money DJing in Montreal, but it’s always been more fun to play there. It’s kind of a Catch-22. Also, the one hour extra that you’re allowed to drink [till 3 a.m.] makes a huge difference. By the time people actually go out here, it’s 12:30, and then last call’s at 1:30, so people start getting loose and then they have to leave.

That doesn’t give you time, as a DJ, to do much.
Especially if you’re local and you’re opening for somebody. You’re pretty much playing for no people a lot of the time. It makes you a much better opener. You have to learn how to pace. It’s not very ideal, and it comes back to why I haven’t had a chance to play my own music. [Rueful chuckle.]

You’ve been doing music for a while now. In addition to Nautiluss, you also have the solo project Grahmzilla, and before that, Thunderheist got a lot of attention.
We definitely got caught up in touring constantly [with Thunderheist], and it made it really hard to actually get any music done. We were constantly on the road or decompressing. But it was great. It sort of set me up to be able to just stay home. We broke up, and I had saved up money and was able to actually learn how to properly produce music. It was sort of a necessary step.

So you didn’t really know what you were doing when you were with Thunderheist?
I would say that I was a part-time producer before we started, so I didn’t really have a good grasp of any sort of production techniques. I just did what worked, and we had so much hype that it carried it. But going back and listening, it’s kind of hard. [Another chuckle.] You know? It really comes down to the fact that, with any kind of art, you have to put in thousands of hours. That’s pretty much what I did in 2010 — make music, almost every day. And none of it is coming out; it was just learning.

How did Nautiluss evolve as a project separate from Grahmzilla?
I feel like I saw the pop side of the industry with Thunderheist — we were on our way to breaking through to a much more mainstream audience, and it kind of freaked me out. I don’t know that I was comfortable on that kind of scale. I just wanted to make a project that was more no-compromise, whatever I wanted to do, that’s not about having some crazy, glamour-photo press shot that sells the music, because that’s not me anyway. It’s an art project. It took me a while to figure out what it consisted of, and eventually I realized that it’s not a genre-based thing, it’s just that I’m trying to get sonic consistency.

I’m really enjoying the record, by the way. I played “Sabbath” at Berlin’s Horst club recently, and it sounded amazing on a big system.
Oh, sick. That’s great. Being where I live, I rarely get to actually play my own music. It’s nice to hear other people having results. [Laughs]

But that said, Nautliuss definitely sounds like the opposite of something seeking the spotlight — the new EP is all dark, claustrophobic, basement-techno vibes.
When I made the Hemlock single [2011’s “Bleu Monday” and “Ultraviolet,” a collaboration with Lord Skywave, a.k.a. Simian’s Simon Lord], I was having a phase of anti-club music, and I really tried to make that record as un-DJ-friendly as possible, you know? It kind of worked. And by that I mean that I didn’t really get any sort of bookings out of it. I think promoters need to imagine your song playing at peak time, and that was definitely not a peak-time record. But it was great, because I put out such a weird, somber thing that it didn’t really tell people what I was going to do next. Then I realized that I want to be able to play, like, warehouse parties and awesome techno clubs, so I probably should be making some music that I can play in these environments. So that was kind of the intent for this record, just to make stuff that I could play when people are super high, but without being annoying or clichéd.

How did you get hooked up with Turbo?
It was actually through Gingy and Bordello, who also live in Toronto. “Mixed Numbers” was the song that initiated all this. Kevin McPhee was the first person I sent it to, and he told me, “I want to press this into a dubplate.” Because he does that — if he really likes something, he’ll get dubs made. Which is amazing. Then I sent it over to Gingy, and Bordello was an intern at Turbo, so Gingy sent it to Bordello, and Bordello sent it to Thomas, Tiga’s little brother, who runs Turbo. Within half an hour, they were like, “Can you hold this for us? We want to put it out.” So I made “Sabbath,” and then I went into self-doubt mode, and tried to outdo those songs, for, like, the next three months. I’m not very good at repeating myself, so the more I do it, the more I hate myself.

When you remixed The-Dream’s “Walking on the Moon,” you talked about your pop inclinations. Do you want to eventually take your music more in that direction?
Some days I’m just not able to make something really off the wall, so I’ll do something like that The-Dream remix. That’s a whole other part of my brain. I grew up with pop music, but this electronic influence is really strong too. I think I need to satisfy both sides of that, especially because the state of pop is so bad. Actually, that remix was kind of an experiment, and the reaction was really good, and it inspired me to keep doing that. So I sort of divide my time between this more Eurocentric stuff and just trying to write more pop music.

It’s interesting that you describe your club music as “Eurocentric.” Electronic music, “EDM,” is going through so much hype in North America right now, but it sounds like you’re more oriented toward overseas styles.
The kind of electronic music that I like isn’t really what’s popping off. Dubstep doesn’t do anything for me, or at least not the aggressive, fratty stuff that’s popular. Big-room, Avicii-style house does nothing for me. I feel so far removed from any of it. So really, Europe is my salvation for what I do. But I think that there is potential. With the kind of youth movement that’s happening right now, hopefully there will be some spillover for more interesting electronic music. I don’t know what’s going to happen. None of us do. But I try to stay positive that there will be some awareness of deeper electronic stuff.

If underground dance music is going to cross over into pop, it seems like Toronto is a good place for it to happen. Just look at Drake picking upon SBTRKT.
I was pretty excited about Jamie xx and SBTRKT coming to Drake’s awareness. I think that helped open the door for a lot of other people. I think the potential is there, but I also don’t think Drake is really trying to mine Toronto electronic artists. It was probably more like his boys telling him who’s the hot shit. But any foray of deeper music into the pop world is a good thing. I like a lot of Drake’s stuff, to be honest. Like that “Take Care” song. It was funny, because it was pretty much a reissue of that Gil Scott-Heron thing (Jamie xx’s remix of Scott-Heron’s “I’ll Take Care of You”). Still, it was amazing that was a single, you know? Didn’t see that one coming.

So what is the extra “s” in Nautiluss for?
Well, you know. In this day and age, you need to spell things differently. I’ve been burned with having names that are proper words, where somebody else has it, or it’s impossible to look up on the Internet. My first name like that was Metrix; that word’s so common. I just wanted something that wasn’t very obvious, that doesn’t really tell you what I’m doing. I actually was told that it was the worst name I could come up with, that it was so not catchy that it was a bad idea.

It’s ambiguous, which I quite like.
Exactly, that was my feeling. You can’t get emotional about it. Grahmzilla is such a stupid name. It’s like, “Oh, he’s crazy! He parties!” I didn’t think about that name too much, obviously. I think when we did our first Thunderheist interview, they asked what my alias was, and I was like, “Erm, Grahmzilla?” So after that one, I was like, “Okay, no stupid names.” But the whole Nautiluss thing makes sense for me. You know what a nautilus is, right? The way they build their shell is sort of incremental. As they get bigger, they make a new chamber, and they’ll seal the chamber behind them. So they always sort of cut off their past. Every three or four years I make these huge, life-changing decisions. I worked at the game company Ubisoft before Thunderheist; I was a programmer. And I walked away from a 60K software job. Then I quit Thunderheist at the height of our popularity — basically, I was like, “I’m out.” So I kind of like these major life shifts. The name just made a lot of sense. I can relate.

Seal off the chamber and move on.
Exactly.

http://www.spin.com/blogs/ex-thunderheist-producer-stalks-away-booty-bubblegum-past

XLR8R Reviews Nautiluss αlpha EP Words: Glenn Jackson Label:...

Mon, 07 May 2012 14:41:00 -0400

XLR8R Reviews Nautiluss αlpha EP

Words: Glenn Jackson
Label: Turbo
XLR8R Rating: 7.5/10

When Nautiluss first appeared last year with a collaborative single for Untold’s Hemlock label, it seemed a pretty safe bet to place the Canadian amongst the ever-growing list of producers emerging with their own take on the contemporary sounds of underground UK dance music. But with his sophomore outing, Nautilus proves first impressions can be a bit misleading, as he’s turned in an EP’s worth of crunchy, techno-rooted tracks that still throw glances towards the Brits for occasional guidance, but ultimately stand on their own merits.

In the theme of changing impressions, it seems appropriate to point out that this bass-minded four-tracker hails from the Tiga-helmed Turbo label, an imprint that since the early aughts has served as the home to a neverending string of techno heaters (most which were electro-oriented). Now, the label appears to be opening its doors to more subtle styles, enlisting Nautiluss alongside producers like Locked Groove and Sei A to continue forging the label’s newest tributary amongst its extensive roster. Truthfully, it’s a great fit, especially when considering the first two cuts that make up αlpha, “Mixed Numbers” and “Sabbath.” Accounting for the first half of the EP, the pair of selections leans heavily on Nautiluss’ techno inklings, both utilizing over-compressed drum tones and restlessly filtered and sequenced basslines to push their heavy-handed grooves along. There’s an underlying grit to these songs—it’s somewhere along the lines of the blown-out textures of Gerry Read, but with a techier edge—that allows “Mixed Numbers” and “Sabbath” to straddle a few lines at once, mainly keeping the Turbo faithful pleased with deep, dancefloor-ready four-on-the-floor while simultaneously enlisting the ears of forward-thinking heads by skirting around cliches and traps, fully exploring the sunken beats with adventurous synth work and a few unexpected twists and turns.

The second half of αlpha is considerably more indebted to the UK lineage of beatmaking. Beginning with “Cloud City,” Nautiluss gradually takes a step towards less bombastic territory, presenting an excursion built around a revolving synth loop and garage-like swing. Again, the synth offerings are slightly overdriven and constantly filtered and affected, revealing harmonics as the frequencies rise and giving a real sense of movement to the track. The result is a bit reminiscent of Zomby’s earlier works (but with a touch of Detroit thrown in); it has the same ability to be instantly infectious in its simplicity, but “Cloud City” expands on its idea longer than Zomby would have (probably because the melodies here aren’t quite as strong), eventually building the track out to a five-plus minute endeavor. The EP’s final cut, “Spidercrawl,” proves to be more aligned with our original expectations. Its half-time step would have fit a little better with Nautiluss’ previous release, but it doesn’t feel entirely out of place here, particularly as the textures move about in saturated warmth and the layers of sizzling synths move through their filtered motions.

In the end, αlpha is a solid record, even if its direction is a bit unexpected. It also serves to show that Nautiluss is a producer with a grander vision than some of the current up-and-comers, and, given his output so far, also appears to be one with the chops to back it up.

http://www.xlr8r.com/reviews/nautiluss/lpha-ep

As you may know my new EP, entitled ‘Alpha’, was...

Tue, 01 May 2012 12:08:00 -0400

As you may know my new EP, entitled ‘Alpha’, was just released yesterday.

I want to thank everyone that helped make this happen as well as anyone who supports by buying and/or spreading the word about it.

Now let me give you more reasons to buy it:

Untold put it his new Clone chart:
http://clone.nl/charts/untold/495

Andreas Baumecker (Panorama Bar Resident) charted it:
http://www.residentadvisor.net/dj/nd_baumecker/top10?chart=105963

Some dj/producers you might have heard of saying nice things about it:

“BIG TUNES.” - Midland

“all 4 are great” - Martyn

“Great release!” - Sinden

“Really cool ep!” - Sasha

“i can see the future…” - Gesaffelstein

“love this actually” - Ivan Smagghe

“LOVE IT !” - Jennifer cardini

“Brilliant release!” - Djedjotronic

“digging this release, especially mixed numbers” - Light Year

“Badass & grinding!” - Christian Martin

“Nice one!” - Popof

“classy original techno for nearly everyone… I like it a lot!” - Pilooski

“This sounds wicked…” - Andy George, Radio 1

Buy it here:
http://itunes.apple.com/ca/album/alpha-ep/id520210575
http://www.beatport.com/release/lpha/900440
http://www.juno.co.uk/ppps/products/454423-01.htm
http://clone.nl/item23657.html
http://boomkat.com/downloads/519391-nautiluss—lpha

Upcoming Nautiluss dates:
May 18 - Glasgow UK @ The Arches ∞
May 19 - Berlin DE @ Panorama Bar ∞
May 25 - Toronto CA @ Forestview Chinese Restaurant w/ Jacques Greene
June 1 - Montreal @ Mutek §

xo
G

Vancouver show next week with Humans and Evy Jane.

Mon, 16 Apr 2012 17:32:00 -0400

Vancouver show next week with Humans and Evy Jane.

Photo

Sat, 07 Apr 2012 09:31:28 -0400

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Resident Advisor Reviews Nautiluss αlpha EP

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Ex-Thunderheist Producer Stalks Away From Booty Bubblegum Past

XLR8R Reviews Nautiluss αlpha EP Words: Glenn Jackson Label:...

XLR8R Reviews Nautiluss αlpha EP

As you may know my new EP, entitled ‘Alpha’, was...

Vancouver show next week with Humans and Evy Jane.

Photo

caylery: ~~~ new surgeon mix ~~~ yay Chicago Skyway -...