PRX: Echoes Interview Podcast

A Meeting of Electronic Generations with Ian Boddy & Harald Grosskopf in the Echoes Podcast

In the Echoes Podcast, It’s a meeting of electronic generations with Ian Boddy and Harald Grosskopf, drummer for Klaus Schulze and Ashra. Ian grew up traveling the spaceways of Ash Ra Tempel, Tangerine Dream and Klaus Schulze. Harald Grosskopf was the drummer for Klaus Schulze and Ashra back then before turning to electronic music.

Harald Grosskopf: When I heard the first time a sequencer, I was completely out of my mind. I had goosebumps and the groove was so intense. I remember that was in the basement of the house of Klaus Schulze in the early 70s. he started the sequencer and it blew my mind.

Ian Boddy and Harald Grosskopf talk about their new album, Doppelganger and the golden age of German electronic music today on Echoes.

Mutantrumpet Creator Ben Neill Proposes an Age of Music Democratization: Echoes Podcast

While the Echoes Podcast is on a break, hears a great one from last year with Ben Neill. If you’ve listened to Echoes over the last 30 years, you’ve heard the music of Ben Neill a lot. He plays an instrument called the mutantrumpet which has 3 trumpet bells, a trombone slide, two sets of valves and a lot of electronics. He’s been making music on the edges of electronica since his 1995 album, Green Machine. In the main part of the Echoes Podcast, I’m not going to talk to Ben about the trumpet, but about his new book, Diffusing Music – Trajectories of Sonic Democratization, Ben Neill talks about a history of opening up music to everyone, from the Futurists to Fluxus to AI. You don’t need traditional skill to make music anymore.

Ben Neill: Yeah, de-skilling and re-skilling, so that technology takes over and makes it so that a lot of the skills that were required are just not valid anymore or they’re not needed anymore.

I’ll be talking to Ben Neill about his book and as a bonus, after the regular interview, we’ll have Ben demonstrating his mutantrumpet.

Hear the Ben Neill and his mutantrumpet in a live Echoes performance here.

Krautrock Country with Immersion and SUSS: The Echoes Podcast

The Echoes CD of the Month in March is going to be Nanocluster Volume 3. by Immersion and Suss and today in the podcast, I’ve got an interview with them. Immersion is the duo of Colin Newman from the iconic new wave band Wire and Malka Spigel from the Israeli new wave band Minimal Compact. SUSS is the American Ambient Country group with guitarist Bob Holmes, guitarist Pat Irwin of The Raybeats, The B-52s and soundtracks for the last two Dexter Series among many other, and pedal steel guitarist Jonathan Gregg of Jonathan Gregg & the Lonesome Debonaires.

This unlikely pairing has produced an album that’s a true meeting of ambient, country and Krautrock aesthetics and a style I might have to dub Krautrock Country. It’s spaghetti western music in space.

Colin Newman: There is a part of Malka and I that we do love, that motoric beat. And there is definitely a side of immersion that is, you know, we are quite… Into rhythm. Into rhythm. And that is the very opposite of SUSS.

Bob Holmes: . . . my goodness, they’re going to give us a song like State of Motion that has all of this rhythm in it. What happens if we give them a track that has all this air and openness in it.

Colin Newman and Bob Holmes. I talk to all members of Suss and immersion in the Echoes Podcast.

Immersion 2024 Echoes Podcast.

Electronic Explorer Steve Roach Turns 70.

In 2019 Steve Roach was voted #2 of 30 Icons of Echoes for our 30 year anniversary. Five years later, he was still #2 for our 35th Anniversary and the 35 Icons of Echoes. For the 30th, we created a profile of Steve, and now that he is turning 70 on February 16, 2025,  I thought we’d take a look back at that feature. When we created Echoes, Steve Roach was one of the artists at the forefront of our thoughts.  In fact, he was the first artist ever heard on the show, since he composed the theme song we used in our early years. He has continued evolving his sound across that time, chronicled with a prolific outpouring of releases. And while other artists from the early years of Echoes have faded away, Steve Roach has remained vital. Hear his story from Berlin School sequencers to techno-tribal and back again, in the Echoes Podcast.

For More Steve Roach on Echoes

Amon Tobin's psychedelic Dreams: The Echoes Podcast

In the Echoes Podcast I have a lost interview when I talk to the bands Figueroa, Two Fingers and Only Child Tyrant. The only thing is, those aren’t bands, but the various recording personas of Amon Tobin, the electronic composer who is pretty eclectic under his own name. His music has evolved, but at the core, he’s still doing what he did when he started as Cujo in 1996.

Amon Tobin: I’ll take something that’s an established form, and I’ll remove it from its understood context. And I’ll put it in an electronic world and see what happens.

Tobin specializes in a modern version of musique concrete, but he also has a project as Figueroa that is purely psychedelic. So much that you might think you’ve traveled to San Francisco’s Fillmore Auditorium circa 1968.

We ran this interview on the Echoes broadcast in September of 2020, but for some reason, it did not make it into the Podcast. I was tipped to this when I read a nice retrospective piece in Tom Moon’s Echolocator Substack Blog. I thought, I should send Tom a link to the podcast, he’d probably enjoy it. Only to discover it never made it into the podcast. I do not know why. But today, I’m rectifying that. So get ready for a deep dive into Amon Tobin talking about his music in the Echoes Podcast.

This one is a crappy photo for the gearheads: Amon Tobin’s studio 2020

Explore the Big Ears Festival 2025 with founder Ashley Capps in Echoes Podcast

In the Echoes Podcast we preview the Big Ears Festival 2025 taking place in Knoxville at the end of March. This is an enormous event with over a hundred artists all on the leading edge of whatever music genre they are in and at Big Ears, there are a lot of music genres, all in abundance. This year features more artists from the Echoesphere than ever including Steve Roach, Michael Rother, Marissa Nadler and more. Every year I talk to Big Ears founder Ashley Capps to preview the event.  Although Big Ears is thought of as a bleeding edge festival sometimes, this year it embraces artists from the new Age including Laraaji, who has been there before, and Steve Roach who is the first true representative here of the ambient new age explosion that began around 1980.

Ashley Capps: And really, new age music isn’t an outlier. We’ve had elements of what many people would consider to be new age for many, many years, I think. So, you know, I feel like it’s an important part of these exploratory music traditions.

Ashley Capps. With artists like Roach, Explosions in the Sky, Rich Ruth, SUSS, Immersion and Anoushka Shankar, it’s almost an Echoes Festival.

We will hear the complete interview with Ashley Capps.  The Big Ears Festival takes place March 27-30 in Knoxville, TN bigearsfestival.org

Days of Genius Past: Sasha's Da Vinci Genius - The Echoes Interview

In the Echoes Podcast, the spirit of Leonardo Da Vinci transformed into electronic sound by DJ and producer Sasha. Da Vinci Genius is an immersive exhibit on the life of the Renaissance polymath. Sasha created a score that ranges from orchestrally cinematic to electronically grooving.  You won’t find the Renaissance music of Da Vinci’s era here.

Sasha: We did try taking kind of our modern instruments, our modern melodies and putting them onto kind of medieval instruments, but it ended up sounding like a bit of a pastiche, you know? The show itself is very technological and future-facing.

So is the music.

Sasha is a renowned DJ and record producer. He began his career in the late 1980s, playing acid house music, and rose to prominence in the 1990s through his partnership with fellow DJ John Digweed. Together, they produced influential mix albums like Renaissance: The Mix Collection and the Northern Exposure series, significantly shaping the progressive house and trance genres.  As a solo artist, Sasha has released notable albums, including Airdrawndagger and Scene Delete. He has also remixed tracks for artists such as Madonna, Moby, and The Chemical Brothers. He was voted World No. 1 DJ in 2000 by DJ Magazine and receiving a Grammy nomination for his remix of Felix da Housecat’s “Watching Cars Go By.”  He released a beautiful ambient compilation, The EmFire Collection, that included his score to the surfing movie, New Emissions of Light and Sound.

Sasha talks about sculpting a soundtrack that finds Da Vinci in the future he helped create in the Echoes Podcast.

Remembering Tangerine Dream's Edgar Froese on the 10th Anniversary of his Departure with the Complete 1982 Interview in the Echoes Podcast.

On this 10th anniversary of his passing, we remember Edgar Froese with this 1982 interview for the Totally Wired: Artists in Electronic Sound series. Tangerine Dream changed music. Period. There was nothing like them before their 1974 album, Phaedra and a vast landscape of music from Donna Summer’s I Feel Love” to EDM to ambient to dreampop are based on their sonic designs. Edgar Froese was the guiding light of Tangerine Dream. He founded the group as an experimental band in the 1960s and guided them through a music that was wed to technology, even if Froese once told me that if you can’t make music on a comb, then you are not a musician. I interviewed Edgar several times before his passing in 2015.

I talked to Froese as part of the radio series Totally Wired-Artists in Electronic Sound in 1982. I met him at his studio in West Berlin. This was before the Berlin Wall came down and there was still a claustrophobic and disconnected sense to the city. Escaping that is part of what Tangerine Dream’s music was about. At the time, White Eagle was their latest recording and Stuntman was Froese’s latest solo release.

Froese had already created an entirely new kind of music with Tangerine Dream on albums like Stratosfear, Rubycon and Ricochet. They epitomized the electronic age of music, recording over 150 albums of synthesized compositions. Their film soundtracks include “Sorcerer” “Thief,” “Risky Business,” and “Legend.” But Tangerine Dream are the original source.

Hear Edgar Froese talk about the history of the group, his ideas about electronic music and his sense of cosmic consciousness in the Echoes Podcast II with his complete 1982 interview

Listen to our Tangerine Dream at 50 Documentary.

The Roots of Electro-Pop-John Foxx's Metamatic Turns 45: The Echoes Interview

In the 1980s, you couldn’t be sure now long New Wave music would last. But now in 2025, Depeche Mode, Orchestral Manouvres in the Dark and Gary Numan are still recording and touring, and newer bands like Ladytron, Washed Out, Emma Anderson, Maps and World Brain are ascending. It’s a sound that isn’t going away. This year, one of the most influential albums of electro-pop turns 45, Metamatic by John Foxx.

JOHN FOXX: That was the thing that fascinated me most about synthesizers. Whenever you get a new instrument it changes the shape of the music completely. You write your music, and you write to accommodate the qualities of the machines.

Musically adventurous and lyrically trenchant, Metamatic remains a timeless artifact of electronic music and pop. We’ll hear John Foxx, Gary Numan and Gareth Jones talking about this release and its creation 45 Years ago.

Echoes Podcast: Maps Counter Electronic Melodies and The Art of Noise 40th Anniversary.

The Echoes Podcast features two electronic artists, one from the future past and one from the present future, with James Chapman of Maps and The Art of Noise, celebrating the 40th anniversary of their debut album, Who’s Afraid of the Art of Noise! released in June, 1984.

The artist known as MAPS has been making exquisitely crafted dreampop music for most of this century. MAPS is James Chapman and we heard from him recently regarding his production of Emma Anderson’s Pearlies album. While many artists went introspective during pandemic lockdown, James Chapman decided to synthesize joy on the all-instrumental electronic album, Counter Melodies.

James Chapman:  I actually started working on those tracks during the first lockdown, so kind of 2020 and obviously it was a really depressing time. And I think I wanted to do something really uplifting and upbeat, just as a kind of antidote, really.

We talk to James Chapman about Counter Melodies and more in the Echoes Podcast.

Hear James Chapman in our Emma Anderson feature.

In June of 1984 an album came out that seemed to turn music on its head. It was by a fairly anonymous trio called The Art of Noise. That name came from the 1918 Futurist Manifesto by Luigi Russolo, “The Art of Noises.”  They were among the first to employ the Fairlight CMI synthesizer which also included one of the first samplers and that last invention is what created their sound. Programmer J. J. Jeczalik, engineer Gary Langan and keyboard player and arranger Anne Dudley were part of Trevor Horn’s production team.  They were responsible for the sound design on albums by Frankie Goes to Hollywood, ABC, Malcom McLaren and most presciently, the song “Owner of a Lonely Heart” by Yes. Joined by Horn and Paul Morley, in June of 1984 they released their debut album, Who’s Afraid of the Art of Noise.

They created an audio riot of sound. Licks stolen from records, noises in the environment, technology and car engines were all part of their sound, using these noises as music.  It was an update of musique concrete of the 1940s and 50s and composers like Pierre Henry and Piere Schaefer. They just married them to funky dance beats.  Ironically, a band that codified the initial concepts of sampling, were themselves sampled many times. Their prettiest song, “Moments in Love” turns up in movies and TV and is still being sampled by the likes of Charlie XCX, J Dilla and Drake.  Other tracks like “Beat Box” and “Close (to the Edit)” were sampled by Fatboy Slim, The Prodigy and many more.

I didn’t want to leave 2024 without celebrating this release so we played a suite of their music on Echoes, but for the podcast, I’m digging back to a segment of the radio series Totally Wired and a 1988 segment on the group where I talked with Anne Dudley and JJ. Jeczalik, who, as you’ll hear in this feature, gave me an odd pronunciation of his name.