I play LIVE tonight at Flacon Cube Club, returning tomorrow to play again in Berlin.

This month, on the eve of a upcoming (and tightly-booked!) Australian, New Zealand and US tours, I’m happy to be able to offer a couple of much-needed dj-mix updates, for your listening pleasure. Firstly, episode 6 of my Diversions radio-podcast series – my ongoing foray into all things ambient, experimental, contemporary-classical and dubwise. For me, Diversions is something of an exercise in unwitting musical anthropology, and an opportunity to weave together disparate threads of musical-influence, in a format less demanding and restricted than the deepchild ‘club’ template.  You can check episode 6 out here along with previous episodes.

Secondly, and focused squarely on the bass-bins, is a new dj-promo mix, ahead of the upcoming slew of shows. Take a listen here. On that note, I’m excited to be working with new management, in the form of the highly-respected Dan Cole, who’s currently overseeing booking and licensing-requests, and offering me further reason to ensure that my liver is in check in times of stress. Any and all Deepchild-related requests are best directed to him, via management@deepchild.com

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Closer to home in Berlin, I’ve been willingly shackled to my DAW of choice, Ableton Live, working on making headway with mastering the new, and rather special Push hardware-surface, and generating new material for some new, rather lo-fi techno projects. I’ve been sifting through found-sound recordings via www.archive.org, recording the line-hum of my badly-grounded synthesizer collection, looping washes of static until they become mantras. And so it goes. Sonic anthropology, wading through the lives of others, ‘cross Bardos  and twilight realms. All whilst the Berlin sun (finally) beats down after a long, cold winter.

In the midst of increasingly busy times, I’m not only thankful for excellent management, but for unique community of friends – both those who continue to set the bar higher for artistic-integrity, and those who don’t perform music at all. Berlin’s utopic freedom can easily degenerate into myopic nihilism, were it not for the voices of solitude, sanity, and simple reminders that our ‘smears on the canvas’ are as ridiculous and inconsequential as they are needed.

I’m reminded, often, of talks with the very dear TJ Eckleberg, himself a brilliant artist – and, moreover, one who values ‘practice’ as  a central ‘dharmic’ choice, rather than a necessary evil. The older I become, the more I’m inclined to feel that ‘practice’, in a sense, is ALL there is. The practice we do for 5-7 hours a day with our instruments, our craft…the practice on stage, the practice spent on long-haul flights, the practice of every out-breath. The practice of going to sleep. The practice of learning to stop caring so much.

Perhaps it might be helpful to care a little less, and practice a little more?

“Better to operate with detachment, then; better to have a way but infuse it with a little humor; best, to have no way at all but to have instead the wit constantly to make one’s way anew from the materials at hand.”  - Lewis Hyde

When I was growing up, I was very-much sold the Anglo-Capitalist narrative that being an ‘artist’ was, in effect, being a ‘conduit for the divine’ – in a sense which implicitly denied that “non-artists” could access this special insight – that those with more mundane vocations and cares had nothing to add to the cannon. These days, I feel compelled that, as an artist, my ‘calling’ (if indeed this word is a helpful one – what of those who’ve never heard the ‘voice’?) is, at least in part,  to dismantle, to examine, to question this narrative.

The very same fables which suggests that artists are ‘specially gifted’ channels for the divine-voice is the story which sells consumer-goods to already full houses, and processed chicken-wings in buckets.

The very same voice which tells us we can ‘transcend’ or we ‘should transcend’ or ‘think bigger’ is the voice which implants and sustains neurosis of those learning the quiet joy of practice. I mean, god, what else do we want? If our dreams are always ‘too small’, how can our desire ever be satiated? There’s a darkness hidden in the shadows which demand ‘transcendence’ and increasing ‘abundance‘. What do these words REALLY mean? Are they useful, and are they kind?

On that note, some Dave Chapelle truth…

Much, too, has been spoken of about ‘vulnerability’ as being core to both honest artistic-practice, and any functional-relationship. On the flip-side, the cult of the ‘talent show’ or the ‘self-help’ blog sees a latter-day elevation of public confession and tailored vulnerability elevated to the realms of high-commerce – the post-human, the almost oddly invulnerable and codified. Tears and confessions as signifiers of ‘authenticity’. Public-confession of sins past and present as tickets to the Kingdom of  Saleability. Lines crossed, granted, by most of us, with some frequency.

I’m not interested in being callous or cruel, but there’s a corollary here, too, one I’m fascinated in following up – a particularly Western fascination with fetishising suffering, separatism, redemption, perceived ‘triumph’ over adversity – yet when ‘adversity’ doesn’t exist, the imperative seems, increasingly, to fabricate OR brutally construct it – to perpetuate the cycle of discontent, of consumption, under the guise of ‘authenticity’. There’s a tragedy here, and emotional poverty at play which is acutely dissarming.

The question remains, as ever, for the artist – perhaps my ‘suffering’ is legitimate enough – and perhaps it’s a reality which needs no justification, or clean and clear resolution or triumphant divinely-breathed artistic response.

Increasingly, too, I feel in deep debt (incase you didn’t pick it up) to artistic-cultures which embrace a sense of restraint, of silence, of leaving things unsaid. It feels like a necessary antidote to so much white-noise…

Perhaps, just perhaps our presence in the midst of practice and struggle is enough.

Additionally, we’re proud to have just launched Episode 5 of the Deepchild Diversions Radio Podcast – a left-field sojourn through all things experimental, modern-classical, dub and ambient-related – with liberal edits and material culled from cinema, lectures and interviews with the contemporary art worlds’ leading lights. This episode features Kodwo Eshun, David Lynch, Jan Jelenic, Philip Glass and more.

We’re now also offering all Deepchild Diversions podcasts via MixCloud. Enjoy!

For any who’ve had the joy of experiencing the exuberance and sheer energy of a Berlin Summer, you’ll appreciate the radical contrast that winter provides. This city, this Kiez of Neukölln – as ever – casting its spell so deeply over me. I’ve been reflecting (as ever) on the darker sides of Norse and Celtic mythology: of the uneasy tales of witchcraft and paganism, of the fierce deities of these wastelands, sewn into the fabric of the people here. These gods and goddesses have of course interbred effortlessly with the Judeo-Christian tradition, but like all native mythologies are rooted in the land that spawned them.

Originally from Australia, I often wonder at the curiously contrasting culture which I grew surrounded by – the staunch High Anglican facades of olde-worlde England, intertwined with Polynesian, Asian, Chinese, Greek, Lebanese and Italian myths and stories. And somewhere, the faint whiff of the Land’s own Aboriginal Dreamtime, buried under layers of politics and denial, but still breathing, living, changing. Our Australian gods are many.

Meanwhile, when I step out at night here – when I see the snowfall reflected in the streetlights, and the frozen fountains in public parks at midnight, I think of Odin, Freya, and Skaoi – these sky-gods and snow gods. They rule the cold seasons here, still. In a sense, much of the Deepchild Diversions Radio Podcast series has been hand-made in these months – perhaps you can hear whispers of these gods encoded within.

In more tropical news, I’m happy to announce that I’ll be back in Australia for a 1 month tour for the month of July, and have already confirmed four Sydney shows, with more interstate shows to be announced shortly. Then August sees me heading to North America once more.

Summer is looking set to be busy, indeed. But for now, though, the snow falls…

Deepchild – Reuterkiez Winter Lights

Image: Michelle O’Brien

Electron Festival 2011 proved a past highlight in the Deepchild gig calendar, and here‘s is what Resident Advisor had to say about it. This performance adds to the expanding catalogue of esteemed festival live shows from Deepchild, including SONAR (Spain), Exit Festival (Serbia), Detroit Movement (DEMF, US), Decibel Festival (US) and New Forms Festival (BC, Canada). Below is a Electron 2013 teaser video – we hope to see you there!

Following in coming months are a host of new Deepchild bookings in Europe, Asia, and in North America over summer. Check back for updates in coming weeks, and some very exciting new release news we’re aching to share! In the meantime, for a taster of what to expect from a Deepchild Live set, visit the Mixes page.

Stalwart Deepchild supporters will remember the Yak Butter party I threw with my partner in 2000 – the city still awash with Olympic fervor and more than a little suspicion of refugees – even as China continued its calculated smear-campaign against the Dalai Llama, and any traces of Tibetan Independence. Somehow, what transpired still surprises me today – I’ve rarely seen a underground community so galvanized, so invested in the shared vision – AND the power of the dance-music event. We raised over $10,000 in one night for The Australia Tibet Council. We were forced to stop further entry to the event (an old warehouse complex) when over 800 people turned up to pay $25 entry each. What’s more, the line-up (including the now über-famous Pnau, and a host of stunning artists and VJs) have unequivocally become some of the worlds electronic-arts ‘game changers’, to this day. But I digress. The format, when executed correctly, can still change lives, build communities.

I’m about to play the first ‘charity’ event I’ve been invited to play in some years. I’m quietly hopeful that there’s something pretty special afoot here, which has the potential (after the first super-successful incarnation some months ago) to be pretty special. The curation, the cause and the intimidating caliber of all artists involved is humbling and inspiring – from Berghain honcho Nick Höppner to in stunning sound-design of Raster Norton’s Kanding Ray, John Osborn and deep-house legend Iron Curtis (just for a start) – its difficult to fault the caliber of the programming here. The ‘cause’, itself, is Save The Children – who are running several operations with Jordian situated refugee camps looking after the most innocent victims of war; children.

I’m excited to be involved, again, in a ‘serious’ charity event with the potential to achieve so much, and provide a rewarding experience for everyone involved. I’d love to see you there: Sunday March 24 from 2pm at Prince Charles, Berlin. Full event details at Resident Advisor and Facebook.

rick Deepchild x

I’m finally finding my feet (and head!) enough to write a few words, processing the trip – from Hawaii, to Seattle, to Boston, then finally Chicago, in less than two weeks. Four ‘official’ live shows, two special unlisted ‘guest sets’, and a lot of time spent in hotel rooms in a state of half-stupor, napping, rendering loops and sampling local beers. After more than three years based in Berlin, I’ve spent at least as long a period touring the US and playing shows like the Detroit Electronic Music Festival, the now (sadly finished) legendary [KONTROL] party at The Endup, San Francisco, DECIBEL Festival in Seattle, Esthetic Evolution Festival in Idaho and so much more.

Whilst the US visa application and renewal process is its own complex ordeal (I’m about to apply for my 3rd ’01′ visa), I must admit, the rewards of playing so frequently in North America (and sojourns to South America!) have been immense…. and I have not only supporters, but those I’d call ‘family’ from San Fran to Detroit. It’s an honour, and a pertinent reminder of the unifying wonder of our electronic music community.

Fitting, then, that I’m sitting in candle-lit café here in Berlin’s snowy Neukölln, listening to Deltron 3030, and drinking too much coffee, whilst slowly digesting the last few weeks.

Despite the barrage of anti ‘bro-step’ and ‘electro-house’ critique (which I admit, somewhat ashamedly I have been party to), I can’t help but admit that it feels like the sands of North American electronic music culture are shifting – and doing so in an entirely positive and energising way. Local boy and ever-engaging journalist, Philip Sherburne astutely iterates this in his recent article for SPIN Magazine and I’m inclined to agree, wholeheartedly. Whatever aversion you may have to Skrillex et al, the enigma that is Sonny Moore is more than forward and generous when it comes to continually acknowledging his peers, his roots and the importance of the community which supports him. It’s a new voice in North American mega-stardom which we haven’t heard in some time (sobbing Grammy Award acceptance speeches from R’N’B’s orthodoxy notwithstanding).

Certainly, my experiences in the USA of late have served to renew my faith, and always my gratitude for those people who house, feed, and pay me to play the music I write/love, to their people, and their communities. If someone had told me that this would be my path say, 10 years ago, I’m sure I would have choked on my Seattle fair-trade coffee (for the record, I spent way too much time sweating caffeine at Stumptown Coffee Roasters, whilst soft, grey rain blanketed Seattle’s asphalt). If someone had told me that I’d be sitting in the back-room of Asylum after-hours club in Hawaii (we opened up the club, AGAIN!) discussing US annexation of the country with locals, I’d be equally floored. If I’d be told that my flight from Berlin to Hawaii would be delayed due to snow in London, and that I’d effectively step off the 21+ hour flight directly onto stage, I’d probably have a heart-attack. Yet these are the anecdotes I have so many of already, and can only hope to recall in years to come. Electronic music is a hard mistress, but an honest one.

Hawaii, for me, was a glimpse into a side of America which felt queerly ‘un-nationalistic’, with all the grace and warmth I’ve come to expect from Polynesia in general. I dearly would love to return soon. I must admit also that DJing on a private yacht watching the sun set the following day (surrounded by nubile, happy people!) was nothing short of humbling.

Seattle, as always, feels (like San Francisco) like a community heartland to me. The generous and beautiful folk from Shameless Productions and Electric Tea Garden not only house and feed me – they adopt me as part of their family, in a way which is open-hearted and life-changing. I hope that I can reciprocate this for years to come, in my own way. I have a very special vote of gratitude to offer to a certain Devin Kelly (and housemates) who allowed me access to their house and music-studio for a week, whilst I alternatively slept, ate their salsa and corn-chips and finished off a lot of urgent production work. Thank you, thank you, thank you.

My time in Boston was, once again, sadly too short. The local hero that is David Day (check out his documentary, Speaking In Code) has become my regular host, supporter and friend there, and a reminder that even the less ‘obvious’ US centres can build authentic, enthusiastic and genuinely ENGAGED electronic music scenes. I first met David (and his partner at the time, the effervescent Amy Grill) via his documentary work, which I have deep faith in and support for. In recent years, David has gone on to play a vital roll at the Dig Boston which provides an increasingly critical voice in matters both art and justice related.

Chicago, much like Detroit, possesses a rawness which is far different from the West Coast – both alienating and compelling. In Chicago and Detroit, electronic music feels like a lifeline – and, indeed, a quantity which can’t be taken for granted. Despite bucket-loads of snow, my experience performing at Primary Nightclub was fantastic – one of the most impressive and devastatingly powerful sound-systems I’ve played through in my life, and no shortage of fans, producer-buddies and budding DJs who wanted to talk. I’m still amazed when people show me their Deepchild albums, CDs, and 12″s in their record bags. Special thanks must go out to both Matthias Matthew and his partner Chelsey, and Gavin Marks, who not only made my stay possible, but took me to Waldorf Estoria Hotel – where I sat in awe, eating fantastic house-cooked vegan food, as snowflakes fell. I also saw a Picasso-etching, up close. Which was, well… brilliant…

There’s much more I could say. But I’ll save it for future posts. For now, many thanks to all my supporters and friends in the USA, and to my US agency Cohenshi who make the rigors of touring possible, with so much attention to detail and back-end support.

rick x

Image: After hours, Honolulu styles

More info and other Diversions episodes here.
Feedback and booking inquiries: info@deepchild.com

Check out more Deepchild video interviews, from New York to Sydney, in our VIDEO section.

These are DJ and studio-ready loops and beats, all lovingly hand-crafted in Deepchild studios in Berlin and the USA – a heady mixture of slamming analogue-driven beats, basses and techno tools. In the lead-up to a very special Deepchild ‘artist signature’ pack (forthcoming and exclusive on Beatport Sounds to Sample) we thought we worthy to mention the currently available, and extremely comprehensive Warehouse Techno pack – already highly critically reviewed and filled with 558 pretty special loops and elements you may recognise from some of Deepchild’s biggest recent productions.

Enjoy them, remix them, deface them, make them yours. You can purchase, preview and even download a free selection from the pack right here.

And with that, we’re happy to welcome you to the brand-new deepchild.com – complete with Upcoming Shows, Booking information and the latest audio and video releases – including official music videos, the new Deepchild radio podcast – Diversions, and videos from Deepchild’s Tour Diary.

Take a look around, read the latest news and tweets, or download yourself a mix. And don’t forget to stay in touch – this is the space where you’ll find all of Deepchild’s latest releases and when he’s next playing a club near you. And if you’re interested, the site was designed and built by Emm Collins.

Enjoy!