Feature | CLUBS
RIVERSIDE (LET’S GO!)
Colin Chapman chats to Cornelius Harris, from Detroit techno collective Underground Resistance, and Rubadub Records’ Wilba Sandieson ahead of Glasgow’s Riverside Festival
‘T imeline (pictured, above) basically expands on the idea of hi-tech jazz music; it’s where techno and jazz mix, so there are both dance and improvisational elements. The fact is, jazz was dance music for a long time, so this project is kind of bringing things back full circle.’
Both the manager and a member of Underground Resistance (UR), Cornelius Harris is offering an insight into the latest live incarnation of the secretive and much respected Detroit techno label and collective.
‘The group [Timeline] consists of Jon Dixon on keyboards, DeSean Jones on saxophone and DJ Konspiracy on the turntables; of course, I can’t leave out the one and only “Mad” Mike Banks who also plays keys’, adds Harris, explaining the line-up. ‘They are a power quartet for electronic dance music; Jon’s the musical director and basically runs the show but everyone contributes’.
Arguably the most eagerly anticipated act appearing at the forthcoming Riverside Festival, it’s the i rst music event of its size to make use of the environs of both the Riverside Museum’s bold architecture and the iconic Tall Ship. Due to take place across three stages, stand-up comedy and street food stalls will also feature alongside DJs Nina Kraviz, Michael Mayer, Josh Wink, Len Faki and Jamie xx, as well as Slam, Optimo, Pro Vinylist Karim and, aptly
enough, Rubadub’s Martin McKay. Something of a Glasgow institution, the shop’s been selling underground, electronic music and equipment for over 21 years, and both it and related distribution arm, Blackhole, represent a local connection to ‘Mad’ Mike; McKay and his Rubadub co-owner, Wilba Sandieson, were among the i rst in Europe, in the early 90s, to forge a relationship between
‘Jazz was dance music for a long time – this brings things full circle’
Scotland and Underground Resistance’s leading i gure, who also heads up the related Submerge distribution. ‘When we started Rubadub it was clear some of the music we loved was not getting the exposure it deserved as it was seldom restocked at any of the distributors’, Sandieson explains. ‘Detroit techno was massive for us, but I knew that there were no real sales of the artists’ own music in the city, or anywhere else
in America for that matter, and I thought this should change, because artists need to get paid somewhere along the line’. ‘So I went to Detroit with Chris Abbot from Infonet Records. Mike took me off the streets and showed me the real deal of life, death and music in the Motor City. Getting to visit the studios at Submerge and the Transmat and KMS labels was a real eye-opener and meeting my heroes in the city, and then Chicago, blew me away. Mike helped us in many ways, probably because we were the underdog that actually braved the streets of his home town in search of their music. Submerge and Blackhole had a proper go at getting this music out there; together, I think we played a part in making it more accessible’.
Best known for their uncompromising take on techno and electro, UR have always maintained their independence, resolutely avoiding the commercialist approach now taken by so many involved in States’ EDM craze, as Cornelius concludes: ‘Considering it was Juan Atkins’ Cybotron which started it all back in 1981, these folks are thirty years late but regardless, it’s more important that UR focuses on those who want something more inspirational than the stereotypical radio programming on offer’.
Timeline play as part of Riverside Festival, Riverside Museum, Glasgow, Sat 24 Aug.
22 Aug–19 Sep 2013 THE LIST 45