Vladislav Delay's Guide To Ripatti

Vladislav Delay

Best Of Bleep Chart


i think it all started with the last Daft Punk album and that "funk" talk… i came across old Rick Jams bootleg live recording and i literally chopped that track manually into 16th notes and got it reorganized and played new stuff on top of it. it's definitely a black swan in the Ripatti Label catalogue so far.


i find myself doing more and more studio research or musical/audio research by myself, just working on things, musical themes or ideas or complete tracks, and not trying to finish anything but just progress. how many ways can i look at the musical problem? or how else can i achieve a certain mood or vibe etc? and it's definitely no technical nerding but trying to work musically and get better at that end. #39 is something i have made at least 20 versions along the way, this happens to be one version i liked enough to print it out.


one day i realized i was going for a drum/bass breakbeat kind of direction with this track and didn't want to hold it back. i actually was producing that kind of stuff very early on when i started late 90s. i always have had a soft point for these kinds of rhythms but also always had a slight disinterest to release any of that music publicly. but that's past now.


the most difficult track to mix for sure from the EP releases so far. Matti sent me some files which had some trouble or issues in the bass spectrum and with phase i just couldn't solve easily. and i took it as a challenge to make it work as i liked the track quite a lot. this track is the only one in the catalogue so far that was started by someone else, Matti sent me the skeleton of the track and i produced it further.


Pillpopper was one track i had made for Ripatti project but couldn't really find my way around it and when Matti was visiting my studio we worked on it together and it found its way into its current shape. i find it funny how the track sounds in normal sound systems without sub, the whole bass is missing… it's all very low stuff but when you hear it properly it's quite a nice bass massage.


this is the track i'm most happiest to have reworked. i must admit i failed pretty bad with the original vinyl version and felt not so good about that. there are these tracks which are more like a workshop challenge kind of thing, very hard to control and having interesting elements which you know can be made to work but somehow are just very challenging to pull off. this is one of those tracks i'm still constantly reworking periodically and i like it more and more.


this was/is (maybe) a direction i took with my Vladislav Delay production some years ago, with tempos starting to get faster and more rhythms being involved. maybe it's some kind of end to the material / style i released on Raster Noton last years. this track was re-worked quite a bit from the vinyl version, i wanted to strip it down a notch.


The Heisenberg stuff begun as a session we did together with Max at my place. I guess you could call it synth/gear-porn… we had tons of sequencers, modular systems and so on running, all live and we recorded quite a bit of stuff at that session, all live improvisation. Afterwards i have been producing the recordings together, but i have tried to keep what we recorded and not add anything else, just mix and produce it.


It's a collaboration and it should not sound too much like my stuff… I haven't been interested in synths or synthesizer music actually ever but this must be it… I find it a challenge to work with this kind of sound palette and stuff coming from Max's sequencing which is also something i wouldn't do myself. also as nice as Buchla is (to look at least) it's pretty hard instrument to mix and control, frequencies go all over the place all the time, transients are also quite ill. i Think i pushed Max in the end to just have as many notes going on as possible, he was maybe a bit out of his normal medium. I think it's quite nice how the different rhythms and time signatures overlap.


Bass desires… I can't say much about this one as it really doesn't make too much sense. I wanted to make a B-side to #10 and make it a bass celebration. though it's not just the bass anymore often in this track. Pretty wild bass lines in there anyway…