95 North
Find A Way To Believe / Now It's Time

Despite making a impression with rough-hewn techno records on TAANSTAFL and his own Tallmen imprint, ca relative newcomer to the genre. Arriving in Berlin to continue studying jazz guitar - a craft he'd been learning in New York from legendary jazz musicians Ornette Coleman and Lawrence D. 'Butch' Morris - it was a long night in Berghain that steered him toward electronic music.Mitchell hasn't altogether discarded his jazz learning, having successfully applied for and won a grant from Musicboard Berlin - an organization that allocates state funding for creative music projects - based on a his pitch for a new project in which the Kansas native plans to combine jazz and Delta Blues with the Detroit and Berlin sounds that have shaped his musical outlook as it is today.'Mississippi, Detroit and Berlin share common stories to me because they have all seen, and still see very hard times and they have a strong musical history connected to folk music,' says Mitchell. 'When I listen to John Lee Hooker, I hear Jeff Mills and Robert Hood. One chord, maybe two, one foot pounding on a wood floor, sometimes at around 130 bpm. John Lee Hooker lived in Detroit for an extend period of time, worked for Ford Motor Company and somehow the machine funk that would later inform Drexcyia was already being investigated by Mr. Hooker.'The 'Blues In Roots' series will take the form of three 12s released over the course of 2014, with an organic fusion of Mitchell's Delta Blues-inspired instrumental musicianship and the tough raw techno production he has mastered in his Tallmen.785 guise, creating a sound that traces a natural musical lineage from Berlin & Detroit all the way back to early 20th century southern USA. 'In the south, they had a wood floor and a guitar, in Detroit and Berlin they have synthesizers, samplers and drum machines. That is where these two seemingly divided worlds collided, and gave me the inspiration to make my music rooted in this specific angle.

Joanne Forman’s Cave Vaults of the Moon created in 1987 for an exhibit of sculptures in Taos, New Mexico is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, Cave Vaults of the Moon sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars. Restored, remastered and cut using DMM.We humans, the nascent beings that we are, still haven’t quite figured out the full potential of music. Dancing, meditating, emoting, protesting; these are all pretty basic. But what if we communicated more complex ideas with music? What if we codified all of our activities with music? This idea came to composer Joanne Forman when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose? Joanne Forman imagined that Earth’s moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. Cave Vaults of the Moon became a collection of sonic texts describing the recreational activities that went on there; earth-viewing, collecting information, building and playing.