This summer sees Bulletdodge main man Gareth Whitehead release his long time in the planning debut album. `The Brood' features a veritable who's who of house and techno. From pioneers who helped shape the sound of early Detroit, Chicago, New York and UK scenes in the late 80s and early 90s to new pan global producers who represent dance culture's ever growing reach, we find an album brimming with talent and collaborative ideas.
Instead of the album being the usual 4/4 house and techno affair its rather a reflection on the history of these genres. These musical mediations see Gareth Whitehead pay homage to the musical innovators who not only inspired himself as a producer and DJ but have also shaped the musical direction of the industry and in essence Bulletdodge.
Each track involves collaboration: with Eddie Fowlkes, Marshall Jefferson and Robert Owens, Lenny Dee and Frankie Bones, Carl Cox, X-Press 2, Darren Emerson, Adamski, Inxec, Detroit Grand Pubahs, Space DJz's Ben Long, Tom Taylor and Werner Niedermeier plus many more.
The album reflects the sounds of Detroit, arguably the home of techno and Chicago, its house counterpart. By working alongside one of the originators of Detroit techno, Eddie Fowlkes and Chicago house innovators Marshall Jefferson and Robert Owens this idea of honoring Detroit and Chicago's dance music roots was most ably achieved.
It was important to collaborate with other key figures in the development of other scenes. Lenny Dee and Frankie Bones were chosen for their contribution to the New York techno scene, which had a massive impact in the early 90s and similarly Carl Cox and Darren Emerson for their relentless contribution to the UK techno scene.
UK house stalwarts X-Press 2 were chosen because of their continued output that not only raised the profile of house in the UK but to the world at large as well as harder techno producer Ben Long from the Space Djz and the Detroit Grand Pubahs.
Similarly, it was crucial to showcase not only the originators but the new breed of talent. Inxec and Andy Slate were chosen for their hard work and commitment to the current scene. There's an abundance of great new artists emerging and it was integral to the albums concept to work with those who have appeared on Bulletdodge over the years such as Mash, Sqyre, Raymond, Lindsay & Kendal, Tom Taylor, Michael Greig, Steve Ward, Mia Wallace, Werner Niedermeier, P-Ben and My Evil Twiin.
The album concludes with the Adamski collaboration, a man who strides across UK rave culture like a colossus, which exudes a slightly different sound. As opposed to the rest of the tracks, the album culminates with a 3/4 time signature track to add that little twist.
All the tracks have been created using Ableton Live 9 and mixed using a Neve VR60/48 mixing console at SSR London by Michael Greig. The album heralds diversity in styles so this had to be cemented with a unified sound. The Neve desk was chosen to gel the sound as its renowned for its specific warm analogue characteristics. It was important that as the album's talent conveyed the old with the new, the technology had to reflect this also.
Instead of the album being the usual 4/4 house and techno affair its rather a reflection on the history of these genres. These musical mediations see Gareth Whitehead pay homage to the musical innovators who not only inspired himself as a producer and DJ but have also shaped the musical direction of the industry and in essence Bulletdodge.
Each track involves collaboration: with Eddie Fowlkes, Marshall Jefferson and Robert Owens, Lenny Dee and Frankie Bones, Carl Cox, X-Press 2, Darren Emerson, Adamski, Inxec, Detroit Grand Pubahs, Space DJz's Ben Long, Tom Taylor and Werner Niedermeier plus many more.
The album reflects the sounds of Detroit, arguably the home of techno and Chicago, its house counterpart. By working alongside one of the originators of Detroit techno, Eddie Fowlkes and Chicago house innovators Marshall Jefferson and Robert Owens this idea of honoring Detroit and Chicago's dance music roots was most ably achieved.
It was important to collaborate with other key figures in the development of other scenes. Lenny Dee and Frankie Bones were chosen for their contribution to the New York techno scene, which had a massive impact in the early 90s and similarly Carl Cox and Darren Emerson for their relentless contribution to the UK techno scene.
UK house stalwarts X-Press 2 were chosen because of their continued output that not only raised the profile of house in the UK but to the world at large as well as harder techno producer Ben Long from the Space Djz and the Detroit Grand Pubahs.
Similarly, it was crucial to showcase not only the originators but the new breed of talent. Inxec and Andy Slate were chosen for their hard work and commitment to the current scene. There's an abundance of great new artists emerging and it was integral to the albums concept to work with those who have appeared on Bulletdodge over the years such as Mash, Sqyre, Raymond, Lindsay & Kendal, Tom Taylor, Michael Greig, Steve Ward, Mia Wallace, Werner Niedermeier, P-Ben and My Evil Twiin.
The album concludes with the Adamski collaboration, a man who strides across UK rave culture like a colossus, which exudes a slightly different sound. As opposed to the rest of the tracks, the album culminates with a 3/4 time signature track to add that little twist.
All the tracks have been created using Ableton Live 9 and mixed using a Neve VR60/48 mixing console at SSR London by Michael Greig. The album heralds diversity in styles so this had to be cemented with a unified sound. The Neve desk was chosen to gel the sound as its renowned for its specific warm analogue characteristics. It was important that as the album's talent conveyed the old with the new, the technology had to reflect this also.
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