We meet I-Robots AKA DJ/producer and founder of Opilec Music, Gianlucca Pandullo…

WHAT’S THE NAME OF YOUR LABEL, AND WHO RUNS IT?

Opilec Music. ‘Opilec’ is a story by Josef Čapek, a writer and cubist painter, and the brother of Karel Čapek. He’s credited as the man who invented the term “robot”, which originally meant “servant”. From this etymology, which truly inspired all of Isaac Asimov’s literature, comes Opilec Music.

I built the label around Asimov’s thoughts on technology; how it is not humanity’s enemy, but a friendly real and useful extension of our mind. I believe robots are our friends in music too.

We mainly do old-school disco, Chicago house & Detroit techno, as well as early 80’s italo, synth, electro and cosmic disco. We also love krautrock and any other electronic genre with its own influence on the history of dance music.

Our sublabel, Turin Dancefloor Express, was build to reflect my own experiences as a DJ and collector and from time spent digging in archives, old collections and anywhere else I could. The aim is to put out music that outlines how important Turin and the Piedmont area was to the development of electronic and dance music in the 70s and 80s. Its logo artwork draws on the logo that the monorail company Alweg used from Turin’s historical photo archives, and since FIAT is based in Turin, it’s become known as Italy’s Motor City, which adds another nice layer of circularity.

Interestingly, many of the tunes from this period were made by live bands until DJs and producers took over. This rubbed off onto the dance music that emerged later; we’ve had some seminal names join for releases on the label, with earlier influences ranging from psychedelic funk, to neo-R&B, to soul, disco, afrobeat, rock and pop and so much more. The tunes are all uptempo, with classic synth sounds and weird vocals, rare grooves and cosmic oddities all hoping to colour the trip.

WHEN & WHY DID THE LABEL START?

I started Opilec around 2008 after formerly working with Irma Records, Irma Elettrica, Relish Records and Lucy Lee Quality Recordings. I thought it was high time to start my own label after becoming tired of waiting for responses from others, who weren’t really on the same artistic page as myself, and had very different musical backgrounds. Turin Dancefloor Express started in 2016 with its first CD compilation, and later became a full-blown sub-imprint..

GIVE US A BRIEF SUMMARY OF WHAT YOU’VE RELEASED SINCE THEN…

We’ve been trying to keep it eclectic on Opilec, putting out mainly nu-disco, indie dance, deep house, mash-ups, and re-edits. The sublabel, on the other hand, has been putting out retro disco influenced solely by 70’s/80’s Piedmont and Turin. 

WHAT QUALITIES ARE YOU LOOKING FOR IN THE MUSIC YOU RELEASE?

I personally select the artists and their music. I usually get involved, helping them finalise their tracks to guarantee a solid sound and result. I know what I like, so every release comes out with a view to complementing what I would play in my sets. I always try to prioritise friendships and collaborations with VIP artists, but will also always give new artists the chance they deserve.

WHAT KIND OF VISUAL IDENTITY DOES THE LABEL HAVE (ARTWORK, VIDEOS ETC)?

Art and music go hand in hand, which is why each release always comes with artwork signed by an international artist, painter, or designer. Over the years I’ve worked with LittleYorke, Kae Seak, Artefract, and Tomozo. We generally go for abstract and cosmic art, but also hi-tech and retrofuturistic vintage styles. 

WHAT’S BEEN YOUR BIGGEST SELLING RELEASE TO DATE? TELL US A BIT ABOUT IT AND WHY YOU THINK IT WAS SO POPULAR.

The Units’ ‘Connections’ EP, taken from the main ‘Connections’ 3xCD release. It has two I-Robots reconstructions and a Todd Terje remix. 

Another one that did very well was the Giorgio Moroder vs. I-Robots release, ‘Utopia’. It was officially approved by Giorgio, and the extended versions were missing from 1977 until 2014 when I put them out.

NAME ONE RELEASE THAT YOU THINK DESERVED TO GET MORE ATTENTION THAN IT DID     

My very own EP, ‘Laws Of Robotics’, which came out in 2020. Isaac Asimov’s original ‘Laws Of Robotics’ has always been a big influence on my music.

IF YOU COULD SIGN ANY ARTIST, ALIVE OR DEAD, WHO WOULD YOU CHOOSE AND WHY?

I would have loved to work with Freddie Mercury, Bob Marley and Larry Levan. Not because they’re legends, but only because I think they were incredible artists. I could have learned a great deal from them, but that’s sadly not possible anymore. 

For living artists, it would have to be Larry Heard, Cajmere, and Adrian Sherwood. Those will all happen, I promise… their styles are all essential parts of my background.

WHICH OTHER LABELS DO YOU ADMIRE AND WHY?

I love too many artists and labels to list, but here are some of my friends’ labels: Electronic Emergencies, Disko Milk, Sticky Music, and Agrellomatica.

WHAT CAN WE LOOK TO FROM YOUR LABEL NEXT?

We Are Opilec Vol 5 is out now and we have some great stuff coming out. Look out for my track with Kathy Brown, ‘Respect’, which will also have a remix on it by Don Carlos. We’ve also got ‘Disco Ruin’, a compilation with contributions from Daniele Baldelli, Alexander Robotnick, Francesco Farfa, and Paolo Martini.  It’s the soundtrack to the forthcoming Disco Ruin Movie with Sky Arts, looking back at over 40 years of Italian nightlife, people, culture fashion and architecture.

Who says Glacial Movements have to work slowly? The prolific stable responsible for more than 50 key ambient releases tells us all…

Stalactite droplets, muffled footsteps, ice cap cracks. Releasing with a slew of key players (the likes of Loscil, Murcof and Machinefabriek) – the vision of Italian label Glacial Movements is coldly singular: to share ambient music with an icy, Antarctic feel. In freezing cold temperatures, we caught up with label boss Alessandro Tedeschi to discuss the label’s history, upcoming releases, and the thawing power of collaboration…

WHAT’S THE NAME OF YOUR LABEL, AND WHO RUNS IT?

The name of the label is Glacial Movements and this particular choice already addresses the type of sonority that can be expected. In other words, ambient music that evokes and describes Arctic and Antarctic landscapes, and all that is closely connected with frost. The founder and artistic director is Alessandro Tedeschi, (pictured, below) also known as Netherworld, who has composed some albums produced on Glacial Movements.

WHEN & WHY DID THE LABEL START?

The label was born in 2006 and the first record release was the “Cryosphere” compilation in which some of Tedeschi’s favorite artists were invited such as Troum, Aidan Baker, Northaunt, Oophoi and others. Love and the strong attraction for silent and snow-covered landscapes, was certainly the main reason that triggered something. The idea was to recreate a connection between cold nature and humanity.

The label is like a hymn to an ecosystem that is slowly fading, unfortunately climate change is inexorably taking over, and every day we read news on the melting of ice, gigantic blocks of ice that are breaking off, or of glaciers that are losing their mass. If this continues, very soon we will no longer be able to see these beauties, resulting in rising sea levels and an increasingly unstable climate. The idea therefore is to create a strong community made up of artists who are asked to share all this, through the composition of a themed album.

GIVE US A BRIEF SUMMARY OF WHAT YOU’VE RELEASED SINCE THEN….

To date I have produced almost 50 albums, all in CD digipack and digital format. The list is quite long, so here is a selection: “Cryosphere was the starting point, then Rapoon Time Frost, Lull “Like A Slow River”, Netherworld “Morketid” ,” Algida Bellezza” and “Alchemy of ice”, Francisco Lopez “Amarok”, bvdub ” The art of dying alone “, Loscil ” coast / range / arc “, Retina.it” Descending into crevasse “, Celer” Without retrospect, the morning “, Pjusk” Tele “, Aidan Baker” Aneira “, bvdub” I Remember ” , Yair Elazar Glotman “Northern Gulfs”, Chihei Hatakeyma & Dirk Serries “The storm of silence” and ” Black Frost”, Machinefabriek “Stillness Soundtracks I and II”, Philippe Petit “You only live ice”, Scanner “The great crater “, Council Estate Electronics (Justin K Broadrick)” Arktika “, Eraldo Bernocchi & Netherworld ” Himuro “, bvudb ” Epilogues for the end of the sky” Loscil & bvdub ” Erebus “, Paul Schütze ” The Sky torn apart “, Murcof “Lost in time”, Northaunt ” Istid III “, Aria Rostami & Daniel Blomquist ” Wandering eye ” and ” Still “, Oophoi ” An aerial view”.

WHAT QUALITIES ARE YOU LOOKING FOR IN THE MUSIC YOU RELEASE?

The quality of the productions must always aim for the maximum. This is a fundamental aspect. Listening to Glacial Movements productions must make the listener feel a sense of isolation and detachment from reality. The sound must therefore always be engaging, never giving reference points. Each album undergoes a mastering process to make it even more immersive and deep.

WHAT KIND OF VISUAL IDENTITY DOES THE LABEL HAVE (ARTWORK, VIDEOS ETC) ?

Glacial Movements has a very well defined identity, in fact all the photos of the album covers come from the shots of professional photographers working in the Arctic Circle. The image can represent a landscape, animals or a detail of nature. The artist can choose which photographer and which photo best suits with the concept of his work, after which the whole digipack is designed and created. This process has been managed for several years by Rutger Zuydervelt aka Machinefabriek (who did almost all the designs) and Oleg Galay. I strongly believe that the best format is still the CD in digipack format, sometimes we design special finishes such as embossed parts, metallic colors, posters and booklets and much more.  

WHAT’S BEEN YOUR BIGGEST SELLING RELEASE TO DATE?  TELL US A BIT ABOUT IT AND WHY YOU THINK IT WAS SO POPULAR.

In reality there would be more than one, but surely the most important and incredible one was “Erebus” by bvdub and Loscil. After producing some records for them, I got the feeling that both of them could collaborate together, because I knew they could explore different aspects at the same time. The album has some really intense and wonderful moments, in “Erebus” there is grace, beauty and a sense of peace. Brock and Scott are two great artists of international fame and importance, and it is also for this reason that the album was so popular. 

NAME ONE RELEASE THAT YOU THINK DESERVED TO GET MORE ATTENTION THAN IT DID

I have always been an admirer and passionate of everything that came out of the brilliant mind of Paul Schütze. He really made history, he’s a name of absolute respect. After a long period of inactivity, I had the honor of produced and released his “The sky torn apart” an album full of details and created with an impeccable technique that has always distinguished him. Despite this, I expected more interest from the public and also from the press.

IF YOU COULD SIGN ANY ARTIST, ALIVE OR DEAD, WHO WOULD YOU CHOOSE AND WHY?

I state that almost all the artists that I have always admired, I have had them on GM. However, I would very much like to collaborate with William Basinski, he is an artist who has a unique sensitivity and style. His compositions are melancholic poems and have that divine spark that I adore. Another artist I’d like to work with is Thomas Koner. He is the progenitor of glacial ambient music, and his visions are perfectly in line with what I want to explore. 

WHICH OTHER LABELS DO YOU ADMIRE AND WHY?

There are many that have accompanied me during all these years, and that have been part of my listening. Unfortunately some are no longer there, while others are still in business: Soleilmoon, Sentrax, Manifold, Sub Rosa, Ventricle, Beggars Banquet, Extreme, Barooni, Cold Meat Industry, Nextera. But what I believe was and still is the most credible and important label with a well-defined identity is undoubtedly is Touch. 

WHAT CAN WE LOOK TO FROM YOUR LABEL NEXT?

After Jokel by Erik Levander, then it’s John Sellekaers Observer Effect, Charles Richard Sonic Earth, a new album by Netherworld, Serga Kasinec Morana, Amphior Being Haunted, Galati Cold as a February Sky, Philippe Petit Ice Thawing, Massimo Pupillo (Zu) and others.

Frodo runs us through the key points of his drum & bass label Tempo

WHAT’S THE NAME OF YOUR LABEL, AND WHO RUNS IT?

Tempo Records, with sublabels: TempoSpeed, TempOzone, TempoSubs, TempoCore and TempoDubs.

Labelowner: -Frodo.

WHEN & WHY DID THE LABEL START?

Back in 2013 with PRPLX – Fabric Of Space – TempoLP01

At the time I wasn’t hearing what I liked and the fun of releasing music on your own platform and that of many producers you liked is a great feeling.

GIVE US A BRIEF SUMMARY OF WHAT YOU’VE RELEASED SINCE THEN….

We’ve released music from artists like: PRPLX, DJ Trax, Voyager, Source Direct, DJ Krust, DJ Trace, Soul Intent, Gremlinz & Ink, Response, mSdoS, Switch, Chromatic.

WHAT QUALITIES ARE YOU LOOKING FOR IN THE MUSIC YOU RELEASE?

Music that hits the dancefloor but also is suitable to listen to at home. Music that hopefully is still accurate in a few years time. Bringing diversity from an artist, usually three or four different flavoured tracks on a crystal clear vinyl 12” and digital. Quality mastering by Stuart Hawkes of Metropolis mastering, London. Always quality above quantity!

WHAT KIND OF VISUAL IDENTITY DOES THE LABEL HAVE (ARTWORK, VIDEOS ETC) ?

Always crystal clear vinyl with a quality designed label and standard designed outersleeve and proper innersleeve to protect the vinyl quality. Short videos with a 30 second clip of the release to be posted on https://Instagram.com/Temporec

WHAT’S BEEN YOUR BIGGEST SELLING RELEASE TO DATE?  TELL US A BIT ABOUT IT AND WHY YOU THINK IT WAS SO POPULAR.

Source Direct – TempoSpeed03, for obvious reasons, he’s one of a few quality producers (alongside Photek, Wax Doctor, Krust, 4 Hero and couple of others) who pioneered the jungle sound. I known Jim from a Tempo event a few years back where we chatted on a release for Tempo, a few years later it happened, that release made me proud as I’m – besides Photek – a huge Source Direct fan too.

Pic: Label boss Frodo, chilling

NAME ONE RELEASE THAT YOU THINK DESERVED TO GET MORE ATTENTION THAN IT DID                                                                                                                               

I think I’m pretty happy about all the releases that where released so far. A great list of fine producers I worked with. Most releases sold out so that’s pretty good for a fairly small independent DIY label.

IF YOU COULD SIGN ANY ARTIST, ALIVE OR DEAD, WHO WOULD YOU CHOOSE AND WHY?

That’s got to be Photek; The Truper, Studio Pressure, Special Forces, Origination. He’s my number one drum and bass producer! It’s the art of leaving out and still remain to bring the original funk in music and that’s a skill not many have. 

WHICH OTHER LABELS DO YOU ADMIRE AND WHY?

Goldie’s Metalheadz for staying true to the craft, razor’s edge quality music! Doc Scott’s 31 Records and Klute’s Commercial Suicide, Ant-TC1’s Dispatch that are still going strong. I have great respect for labelowners that still release cool music from (new) artist they believe in after so many years, it’s a huge dedication and effort they make to keep a scene healthy and vibrant. Imagine if there weren’t any labels anymore…! I’m glad the scene at this moment is so vibrant with Jungle producers such as Tim Reaper, Sully, Mantra, Djinn, Sherelle and the whole Rupture & Repertoire crew to name just but a few. Big up to all the jungle crew.

WHAT CAN WE LOOK TO FROM YOUR LABEL NEXT?

After the release of Voyager’s ‘Shields Down’ 12″ I’ll be very pleased and thankful if the new sublabels do well in terms of making a few vinyl fans happy and still giving producers a platform to release their music.

There will be new albums coming from Response, Furney and Acid Lab. And some new limited picture discs on the TempoSpeed series from a few legendary top producers who haven’t released any new music in a while. Some hot breakbeat releases from new producers and a release by man of the moment’ Tim Reaper & Kloke on TempoCore in a few months too.

Tempo website

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Alex Knight talks us through the past, present and future of the legendary, genre-spanning FatCat empire

WHAT’S THE NAME OF YOUR LABEL, AND WHO RUNS IT?
We are FatCat Records but have several imprints including the highly regarded “130701”, “Split” and “Splinter Series” as well as the electronic music imprints of “FCR” and “6dimensions”. The label is managed by co-founder Alex Knight, with a strong team of David Howell (130701, split and splinter), Samantha Orton, Lucille Vasseur and Sofia Jonsson.

WHEN & WHY DID THE LABEL START?
The label’s first release was in the autumn of 1996, WEB’s EVA EP” and felt like a very natural progression from the retail store and record shop. With the store closing in 1997 the label became the priority business and the focus for all FatCat activities.

GIVE US A BRIEF SUMMARY OF WHAT YOU’VE RELEASED SINCE THEN….
The label is renowned for its diverse and eclectic output, from noise to punk, from electronica to no-wave, from classical to dance and everything in between. We have worked with some incredibly creative artists and have been lucky enough to be instrumental in the careers of Sigur Ros, Mum, Animal Collective, Vashti Bunyan, Frightened Rabbit, The Twilight Sad, Max Richter, Dustin O’halloran, Hauschka and many others. We’re lucky to have a fantastic current roster which includes the creative genius of Shida Shahabi, Resina, Ian William Craig, Holiday Ghosts, Jennifer Touch, TRAAMS and The Psychotic Monks, amongst others.

WHAT QUALITIES ARE YOU LOOKING FOR IN THE MUSIC YOU RELEASE?
We like to blur the boundaries between genres and are looking for music which pushes the envelope or excels within its field. Music which impacts and makes you feel and think differently.

WHAT KIND OF VISUAL IDENTITY DOES THE LABEL HAVE (ARTWORK, VIDEOS ETC) ?
The label has always maintained a strong visual identity, the logo being instantly recognisable. We have also maintained a strong relationship with the designer Dave Thomas who has been responsible for the creation and execution of several striking covers and artworks. We do however encourage the artists we work with to forge their own links with creatives and strongly encourage collaboration.

WHAT’S BEEN YOUR BIGGEST SELLING RELEASE TO DATE? TELL US A BIT ABOUT IT AND WHY YOU THINK IT WAS SO POPULAR.
Sigur Ros must be the most popular artist we have released to date. We worked closely with them on their first two records, the internationally lauded Ageatis Byrjun and ‘( )’ LPs, both of which were critically acclaimed. The band have an ethereal quality, their music otherworldy and unlike anything else, they’re captivating and unusual and struck a chord with a massive audience. They also worked extremely hard, toured relentlessly and built themselves a formidable live reputation.

NAME ONE RELEASE THAT YOU THINK DESERVED TO GET MORE ATTENTION THAN IT DID
We released an LP from a Seattle based band called Welcome back in 2007. The album is called Sirs and is still a formidable body of work. They were an incredible live band too, bustling with ideas and energy. The record still sounds as fresh today as it did back then.

IF YOU COULD SIGN ANY ARTIST, ALIVE OR DEAD, WHO WOULD YOU CHOOSE AND WHY?
A bit of a cliché I know but I would have loved to have signed Radiohead, a band that are always evolving, always pushing the envelope but who have managed to maintain a broad fanbase across multiple albums.

WHICH OTHER LABELS DO YOU ADMIRE AND WHY?
You must take your hat off to anyone that has the balls to run a label in this current climate, especially given the cards we have been dealt in this past year or so. There are literally so many excellent labels out there doing amazing things, Dark Entries, Super Viaduct, Hornin Sounds, Pressure Sounds, Zam Zam, LTM, FHXE and Paranoid London are all on my go to list as are many, many others!

WHAT CAN WE LOOK TO FROM YOUR LABEL NEXT?
We will celebrate our 25 year anniversary this year alongside the 20 year anniversary of the 130701 imprint. We are in the process of curating a number of bespoke anniversary editions of classic albums across the label as well as a number of new and exciting releases from new and existing signings.

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