Posted: Tue Oct 16, 2012 4:57 pm Post subject: PAUL WOOLFORD [11/5]
2010 is rapidly becoming a vintage year for Paul Woolford - a year in which he positions himself right at the cutting edge of dance music. With forthcoming music being released on Carl Craig’s Planet E, Steve Bug’s Pokerflat, and London’s Phonica label as well as maintaining a hectic global tour schedule playing key clubs globally such as Tokyo’s Womb, Frankfurt’s Cocoon, Warung and D Edge in Brazil, and for the 4th year, the renewal of his key We Love.. Space on Sundays residency in Ibiza.
Paul Woolford is also fiercely in demand from labels across the world as a remixer and in the last 18 months has applied his unique touch to Depeche Mode (for Mute), Morgan Geist featuring Jeremy Greenspan (for Environ), Delphic (for R&S), The Juan Maclean (for DFA), Maps (for Mute), Hell (for Gigolo), Skunk Anansie (for One Little Indian), Simian Mobile Disco featuring Jamie Lidell (for Wichita), Scott Hardkiss (for God Within), Alex Flatner & Lopazz (for Pokerflat) and more. It is widely known that his name upon a project signifies that things are likely to be somewhat different and this has also led to Woolford being courted for his production skills in wider capacities.
The 'Platform' double CD mix compilation released at the start of the year served as a musical manifesto boldly pointing towards the future. Displaying the varying facets of Woolford’s approach to his craft, the 2 mixes went from lush ambience through deep, engaging house and beyond towards Detroit techno and dubstep/techno hybrids, never once losing the flow. IDJ Magazine’s Jez Torrance sums up his dexterity in his review, "No one knows how to wring every last bit of emotion from wires, cables and microchips as Woolford.” DJ Magazine's editor Ben Murphy touches on Paul’s diverse production abilities in his Killer review for ‘Bloodline’ on his own Intimacy label, “Something we couldn’t have predicted is Paul Woolford making bass music. And making something as unbelievable as ‘Let It Go’ is doubly jaw-dropping… he’s fashioned one of the undoubted biggest tunes of the year so far”
His label, Intimacy is firing on all cylinders and its releases are played by DJs across the spectrum from Luciano to Danny Tenaglia to Kenny Larkin and all points in between. There are releases coming soon from Matthias Vogt, of MotorCitySoul in Frankfurt, Sui Generis from Holland’s techno elite, and also a stack of remixes of various Woolford tracks by a veritable who’s who of contemporary dance music producers including the mighty Appleblim & Komonazmuk, Altered Natives, Kink, Ben Sims, James Zabiela, Benny Rodrigues, Berghain’s Norman Nodge and more, names that clearly signpost the quality herein.
Initially inspired by the constant throb of the radio throughout his childhood, the seeds of Paul Woolford’s future direction were sewn by the time a record-collecting addiction kicked in properly during his teenage years. This insatiable appetite for musical stimulation has driven him to explore far beyond the cutting-edge house and techno that is his stock-in-trade, and led him down more experimental paths, embracing aspects of improvised jazz through his collaborative work with Paul Hession, and taking huge inspiration from the modern composition of Steve Reich. All this is distilled within the house and techno dynamic that Woolford has made second-nature and you can clearly see these influences emerging across various productions. The forthcoming Planet E single ‘Tommorrow’ uses elements of John Cage’s Prepared Piano and re-contextualises this instrument through the gauze of Detroit techno.
Many know Paul Woolford's name through the 2005/6 slow-burning hit "Erotic Discourse", released on 2020 Vision, the Leeds label with which he made his name initially. The success of this proved he has the ability to create a genre-defining sound and led to sales of over 15,000, capturing the imagination of DJs across the board from Ivan Smagghe to Ricardo Villalobos, The Chemical Brothers, Richie Hawtin and DJ Hell to Francois Kevorkian, Laurent Garnier, Trevor Jackson to Erol Alkan. Indeed Erol Alkan described the track as "a modern day psyche record" and the track became a stone-cold classic.
He has since appeared across international media including the cover of DJ Mag and IDJ including a photo shoot from Tate Modern's Doris Salcedo installation "Shibboleth" (after a personal email from Woolford, Salcedo gave her express permission). With each release Woolford is showing a level of artistry that is clearly on an ascending plane, and shows every sign of flourishing beyond.
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