Blueprint for success: The James Ruskin interview

Blueprint for success: The James Ruskin interview

17 April, 2008 | 1.16AM

• Written by: Lee Smith
• Filed under: Music News: blueprint, james ruskin

As founder of the esteemed hard techno label Blueprint, DJ of considerable repute and acclaimed turntablist skills, and producer of heavy but deeply intelligent techno beats, James Ruskin is the connoisseur’s choice when it comes to intense club music of the highest order.

With his new album ‘The Dash’ having just dropped on techno powerhouse Tresor as a Beatport exclusive, we caught up with the London based producer to chat about the death of his friend and label partner Richard Polson, his history in music, and what he thinks about the state of techno in 2008.

Like a number of techno producers of your generation, your way into electronic music came through hip-hop and electro. What sort of acts were you into then, and how did they come to merge with techno?

That whole period was an amazing time for music, and I’m not sure we’ll ever see another musical revolution like it.

For me, it was like all of a sudden there was this completely alien sound being created, and it amazed me.

People like Mantronix, Cybotron and Mann Parish — all this stuff blew me away.

I had no idea how they were doing it, but I was hooked.

The transition into techno just kind of happened over time.

When I first started going to clubs, you would hear electro, hip-hop and house music all in the same sets, so there wasn’t the separation between styles that you have now.

Although there are a lot more people mixing up sounds today, and this is a really good thing.

What were your main inspirations for forming Blueprint with Richard Polson? Did you have a specific sound or concept in mind?

Well, at the time, myself and Richard were finding our way around the equipment we had gathered, and techno back then I think was beginning a new phase, which didn’t really have that many outlets — although that changed dramatically in quite a short space of time.

We had put a 12 inch out on a new label called Guilty Records, but we soon decided that the best way to continue was to have full control over every aspect of what we were doing, so the outcome of that was Blueprint.

The music we were making was mainly geared towards clubs and for me to use when I was DJing, so that dictated the sound of the label.

Lots of people look back at the mid-1990s as a golden time for techno, particularly in the UK. Do you share that view? What differences do you see in the scene and the music between then and now?

It was a very exciting time for techno back then, but the golden age has been constant — you just have to search a bit harder now!

Electronic music, in general, has become the soundtrack for the last ten years or so, and has moved from a very underground scene to being accepted, so the shock value has gone.

And that makes it harder to get the next generation involved and listening to what is happening.

You acknowledge in the press release for ‘The Dash’ that the album is “less forceful” than much of your previous work. Why do you think that might be?

I think there are lot of reasons, but my main focus is different now and I’m approaching things in a very different way than when I sat down and recorded the last two albums for Tresor.

A lot has happened since then, and as an artist you have to move on and look at what you want to achieve with each project.

When I look back, the previous albums were definitely a product of my intense DJ schedule, and what I was playing at the time.

Now, I’m trying to create a much broader sound that can be used in different environments.

It’s your third album for techno powerhouse Tresor. How did you first come to work with them? Does the label’s intimidating history and pedigree ever put pressure on you?

I first became involved with Tresor through playing at the residency Surgeon had at the club in about 1997.

At the time, he was in the process of recording his first album for them.

After playing there a few times, we started discussing my working with the label and things moved on from there.

I had already recorded an album for Blueprint, but I wanted to take things further with the next project and they were the perfect vehicle for doing that.

You’re DJing digitally now – or using a laptop extensively in your sets, at least. Do you still have a passion for vinyl? What’s your stance on the implications of digital music in a wider sense, i.e. for independent labels and artists?

My passion for vinyl will never stop; it’s something that is ingrained in you.

Using the laptop is, for me, a way of expanding the possibilities of what I can do as a DJ, but I still love the tactile approach of records.

For me, using both is perfect.

There are positives and negatives with the whole digital music era; the most positive thing is that digital distribution is an incredibly effective way of distributing tracks and allows people access to a massive amount of music that would probably be impossible to get hold of previously. 

On the down side, I actually enjoyed the whole process of searching out a record — it was almost a challenge! 

I can’t ever see collecting files having the same feeling as collecting vinyl.

When I paid for a record, it wasn’t just the music, it was the whole package; the artwork, the sleeve… it was much more tangible.

It’s a very difficult time for the independent label, as there seems to be no way of policing the industry, which makes it increasingly difficult for people to survive.

But if you take away the business side of things, it can only be positive, as music is made to be heard.

Do you still get the same buzz from DJing as you always did? If you had to choose between DJing and producing, could you?

Yeah, I do get the same buzz, when the party is right and the sound system is good, there is nothing like the interaction you get with the crowd.

I don’t think I will ever get bored of it.

It would be really difficult to choose between DJing and producing as they are so different.

I like the immediacy of playing out, whereas producing has a much longer effect.

To be honest, the two go hand-in-hand, as the biggest buzz of all is playing what you have created.

How do you think the sudden death of your friend and collaborator Richard Polson changed your perspective, musically or otherwise?

I’m not sure it changed my perspective musically, but from a personal point of view, my outlook changed overnight.

I’m not really sure it’s something I can explain, as there are so many different stages that you go through, and in this way it affects every part of your life.

Do you feel that the future is bright for techno?

I do, yes.

This is only the start!

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