Pred njegovim petkovim gostovanjem v K4, bomo pod drobnogled vzeli dolgometražni prvenec v Berlinu živečega italijanskega elektronskega producenta, ki v techno estetiko posega na izrazito avtorski način. Je preveč drzno, če zapišemo, da je album 'Wordplay for working bees' v kontekstu techna, en top 10 dosežkov v zadnjih vsaj petih letih? Ob tej priložnosti pa smo ga prosili tudi za krajši izbor skladb, ki so tako ali drugače inspirirale njegovo ustvarjanje.

Tkole je svoj izbor zlo luštno pojasnu Lucy;

1. Aphex Twin: “Bbydhyonchord” (Warp)

Within such an eclectic album as Drukqs this track stood out as one of the ones I listened to most for years. For me it expresses in an abstract way what dance music is all about, specifically moods and emotions I favour most that are associated with house music. In its short length “Bbydhyonchord” contains all the necessary elements that give a track depth and make it fascinating whilst keeping to a basic formula. Everything is there even if it's invisible, which shows the effectiveness of being masterful by being simple. Few tracks possess the ability to do this.

2. Amon Tobin: Foley Room (Ninja Tune)

A masterpiece in the use of field recordings. Amon Tobin's production approach to this track was so important for the creation of my own album Wordplay For Working Bees. Being able to use field recordings in the most dusty and raw way, but at the same time assembling them with surgical precision, well... that's a big achievement, shared by Amon Tobin and few others.

3. Ryoji Ikeda: Test Pattern (Raster-Noton)

For me this is a perfect example of how effective the combination between sound and visuals can be. When a part of our brain, dedicated to one kind of perception is cross-pollinated through another sensory system, the result is always surprisingly rich. Ryoji Ikeda knows this very well and does so on stage, giving a unique touch to his live performances. This also applies to other things, like the relationship between a records's artwork and its music. The cover art of a record is like the preface of a book, vital for its interpretation. With my own record label, Stroboscopic Artefacts, this happens through Oblivious Artefacts, a collective of artists that take care of our entire graphic concept. This is one of our main priorities.

4. David Toop: “A Cartographic Anomaly” (Hot Pants Idol, Barooni)

In this case I prefer to let the music do the talking.

5. Shackleton: “Blood On My Hands” (Skull Disco)

For this one I'd like to borrow the words of Mnml Ssgs, quoted from a really beautiful post published on the 30th of November 2010: “2010 has been a very strange year for me. Its major events—at least, the ones considered major by those with influence to name and frame them as such—have provoked massive alienation, much of which affected what I was listening to and how I was listening to it. Shackleton was the most apt soundtrack for any time I had the TV on.” I strongly suggest visiting the blog to read the entire post.