M-Plant 2009, reissue

Robert Hood 1994年的《Minimal Nation》本月再版。你胆敢叫这种开明宗义的名字吗？Daniel Bell也有能耐地blip blip bleep bleep的叫。

Robert Hood Recorded Live at Fuse, Belgium

Bleep (Warp的在线商店) 短访Robert Hood：

BLEEP: To what extent did growing up in Detroit influence your music?
RH: I'm a product of the civil rights movement, so I grew up on the politically charged sounds of Stevie Wonder, Marvin Gaye, the Motown sound. Certain DJ's like The Electrifying Mojo, Martha Jean 'The Queen' & the Big Soul Rocker (Claude Young's father) shape my musical perception.

BLEEP: How did you become, alongside Mike Banks and Jeff Mills, part of Underground Resistance?
RH: I met Mike Banks through Mike 'Agent X' Clark. I played him a demo and he liked the drum programming particularly. Soon after I met Jeff Mills. I became part of UR as 'The Vision' in the form of MC / Artist.

BLEEP: After listening to 'Nighttime World Vol. 1' and 'All Day Long', one can here a ‘jazz' element to these records. What kind of music influences the Robert Hood sound?
RH: Roy Ayers, Donald Byrd, Jean Luc-Ponty, Hiroshima, Wu-Tang Clan, A Tribe Called Quest, Human League, Chic, Fishbone, Heaven 17, to name a few.

BLEEP: As a pioneer of 'minimal' techno, was your sound born from limited studio equipment or a reaction to the sound of the time?
RH: I never felt it was necessary to have a lot of equipment. I've always believed it's not what you have but how you use it.

BLEEP: Which other producers, past and present, do you have admiration for?
RH: J-Dilla (Rest In Peace)

BLEEP: How do you feel about the genre of 'minimal' techno as it is now?
RH: A lot of so called minimalist artists are jumping on the minimal bandwagon for the sake of being minimal. What's lacking a lot of the time is the feeling, or the emotion. We hear a lot of slick production but not a lot of passion.

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 Unsuitable 2009

这几年我听Minimal，它是这十年舞曲的主流。去年我开始听偏deep的House，而当下正是这些老派东西的回潮时间。原来我这么时髦。当我用最近3个月把新电脑的150 GB全吃掉的时候，有些不知所措了。60多个压缩包没解压，解压了但没听的又数不清，新的下载list开始堆积，又是超载时间。

混混浊浊地听DJ /rupture和吉他手Andy Moor（不是舞曲的那个！来自The EX）的2007年欧洲现场即兴的《Patches》，奇怪地觉得不少地方在借用流行乐。听完后恍然大悟，这张名为《补钉》的专辑就像是反过来操了一把Pop Music，这并不是嘲弄，因此名字也可以唤作《Fuck the rules, let's play together!》。

原来是为了听到更多好音乐，我才不停去追逐。这理由/借口听起来不错，很富丽堂皇。