Project Description

Modern industrial interpretation, but with a danceable multi-genre seasoning.

IVANAUSKAS & PETREIKIS

#003 / Urbex

Shapoka

These guys may be fresh in the stage, but certainly not new in the scene, if we think about it as a (sub)cultural movement. Algimantas Ivanauskas and Rokas Petreikis is a duo known by many who‘s into techno and experimental dance music since long time ago. One’s a modest and gentle record collector and cassette fan, the other – a strict and straightforward critic whose often bold, but correct observations brightly mark defects of the scene.

Guys reviewed an hour and 18 tracks in their mix of what could be seen as a modern industrial interpretation, but with a danceable multi-genre seasoning: full of techno, electro, EBM and other bangers, but with a slice of ambient and drone atmospherics where fits. A review of old and new, representing of what they loved and liked the most through many years. A pure representation of what these guys sound like both inside and outside.

Interview:

A generic first question: how did you meet and become friends and subsequently music lovers?

A: We met at school. We’ve been sitting together since the 5th grade. My first music discoveries were Prodigy and Dream Dance CD compilations. Good stuff.

R: I was living my whole life with music. My father is a very passionate music lover and record collector, so you can say it’s in our genes. Since childhood I was listening to classic rock, pop and 70’s electronic music. In my teenage years my taste started to change and I switched to British acts (Orbital, Underworld, The Prodigy, etc.) thanks to my aunt’s record collection, she was a fan of British electronic music. From that everything moved naturally to other horizons.

You’ve been active in the scene for years now. How did it all start for both of you personally and evolve into this?

A: For me everything started after a trip on the minimal.lt ravebus to the Up To Date festival in Bialystok. Met a lot of nice people there and started going to parties in Vilnius. Before that, I was digging music at home, isolated from the Lithuanian music scene.

R: I started to party a bit earlier than Algimantas – it was progressive house parties, later moved on to techno and electro. There were noticeable event organisers Step Service here in Kaunas, they organised acid techno parties in abandoned buildings. I have a lot good memories from that time. Later things moved to Vilnius because the Kaunas team disbanded. At that time Algimantas started to join me too.

And how did the local scene evolve during all those years?

A: [poo emoji]

R: To me personally it lost its soul. Today we have a lot of events every weekend, but most of them are copies and don’t have a unique identity. A lot of DJs are just following trends and posting Instagram posts instead of developing their unique style, but not everything is lost, because there is a new generation on the horizon.

Is there something you miss from the older days that you don’t see present nowadays – people, artists, sounds or mindsets?

A: Strong vision, quality control.

You have quite different temperaments. What are the differences in music?

A: Not much. We both listen to most styles of music and what matters at the end is quality of the track, whether is good or not, and not music genre.

Rokas is known as a person who’s not afraid to say some reasoned criticism. How do you see the current techno scene and this on-going boom in popularity as a person who’s been into this sound before it was cool?

R: I think techno is past its heyday. We have tons of new releases, but rarely any of them will stand the test of time. You just play it one or two times and delete it to be replaced by something new, so naturally I don’t listen much to it nowadays. Techno had its crisis in 00’s so it’s matter of time when the bubble will explode again, but it applies to all genres that get on a hype train.

Algimantas is well-known as an in-depth melomaniac, especially when speaking about cassette tapes and collecting them. What’s so fascinating about the hiss of the tape? Many people see it as an outdated thing or a fetish.

A: And they are absolutely right. Cassettes are impractical and sound like shit compared to other formats. But like with a lot of things in life, you like them not because they are practical. For me personally, I like physical media because you can analyze the artwork and packaging better (if the artist bothered to put any effort into it) to get more context about the music. Cassettes have a bad reputation of sounding bad, and while in a lot of cases that is true, they can sound really nice if recorded properly on good tape. Also, tape hiss and warm sound may go along with some music.

We find it strange both of you didn’t start DJing actively before. Why? Have you never intended to do so?

R: I think that my taste in music is now fully matured and I’m comfortable in sharing it with others.

Lithuanian clubs seem to be bringing in the most famous names in music today, every weekend being graced by numerous huge artists and headliners, not to mention the locals throwing parties seemingly every day of the week – yet you can still feel an air of disappointment in the scene. Is it a problem of over-saturation? What should local promoters do to maintain an interest or a sense of uniqueness?

R: It’s a deep and complicated topic, but I think it’s all about a unique vision. Most organisers take the easy route and book trendy names instead of searching for new young talents and promoting them.

If you were to start a record label or a club night, what would you focus on?

R: If had record label it would keep a strict “less is more” policy. A good source of inspiration is Basic Channel records. They released just 7 records, but what a strong impact it made. Nowadays it’s a different time, so you need a lot more to show apart from music to have any chance of showing yourself above all the noise.

Your mix displays a wide array of genres and sounds old and new. Perhaps it is an attempt to disprove the misconception of being solely limited to techno?

R: We were never 100% techno heads, just at an earlier time we were more interested in it, but time passes and tastes change with it. Nowadays we like all kinds of music.

Where is the line between club music and home-listening music for you, if there is one at all?

A: In my opinion, the requirement for club music would be 4×4 beats, since, at least in theory, people come to clubs to dance. While at home you can listen to pretty much anything.

R: It all depends on mood and location.

Hopefully this mix and your performance at the “Urbex” night won’t be your first and final outing as a creative duo. Have you got anything planned for the future?

R: I hope we will have other opportunities to perform and then we will think about bigger projects.

By Viktoras Urbaitis and Algirdas Šapoka.

Tracklist:

  1. Sammy Osmo – Verlaten Dierentuin Wassenaar [Strange Life Records, 2008]
  2. Alpha Wave Movement – Artifacts & Prophecies [Harmonic Resonance Recordings, 1996]
  3. Isorinne – Reality Is What You Can Get Away With [Field Records, 2015]
  4. Pump – Falling From Grace [Plague Recordings, 2010]
  5. Paper Dollhouse – Black Flowers [Night School, Bird, Finders Keepers Records, 2015]
  6. Forest Swords – Crow [Studio !K7, 2018]
  7. Pye Corner Audio – Inside The Wave [Black Mill Tapes Volume 3: All Pathways Open, 2012]
  8. Patrick Cowley – Journey Home [Dark Entries, 2013]
  9. Led Er Est – PS 18 [Mannequin, 2010]
  10. Sobranie 8 18 – I Was Sick [Perfect Aesthetics, 2017]
  11. Chymera – Swim Away (Steve Moore Remix) [Connaisseur, 2012]
  12. Phase Fatale – The Fall [Ostgut Ton, 2013]
  13. Umo Detic – Fahrenheit [New Zone, 1989]
  14. Circuit Breaker – Teacher [Probe Records, 1996]
  15. Ekman – I Only Hit You ‘Cause I Love You [The Trilogy Tapes, 2015]
  16. A Hand – Paper Scuff [Details Sound ‎,2014]
  17. Restive Plaggona – I Can’t Say Yes But I Can’t Say No [Several Minor Promises, 2018]
  18. JK Flesh – JK Flesh Merges Prurient 1 [Hydra Head Records, 2013]