Designs For Life

One of Digital Beat’s top tips for ’98 at the start of the year was London producer James Ruskin. He makes unique, complex electronic music. Free from the restraints of pointless tags like “underground”, and “experimental”, James’ music is a subtly assembled sucker-punch in the collective face of dance music.

Refusing to subject himself to the huge levels of bullshit that go hand-in-hand with the music industry, Ruskin set up his own Blueprint label in May 1996, as a vehicle to release his own material and music by like-minds Richard Polson, Oliver Ho and Tony Surgeon. Aligning with Polson’s own Surface label, the Blueprint gear proved that it’s not necessary to bang the box to make yourself heard. In just over two years, and after ten ultra-layered, complex releases, Blueprint can rightfully call itself one of the most innovative imprint to champion techno and electronic music.

Last month saw Ruskin consolidate and make cohesive his musical intentions, with the unleashing of his debut LP, Further Design. Futuristic music in the truest sense, Design sees the Blueprint boss dig deep into his well of sound, and enter a realm which only The Surgeon has otherwise explored so far, on his recent Balance album. Hard but funky, abstract yet accessible, Design’s greatest strength lies in its ability to give the listener new sonic experiences, even with repeated listens.

Taking a break from a worldwide DJing schedule that would make even Billy Nasty seem like a bit of a slacker, Ruskin joined up with Digital Beat recently for a chinwag.

First of all, James, tell us a bit about your musical background . . .

“I’ve been passionate about music for as long as I can remember. I finally got the opportunity to DJ sporadically, and then I was given the chance to go into a hired studio with Richard Polson, but we soon decided it wasn’t the right way to go about it. As far as I’m concerned it’s impossible to allow someone else engineer techno for you: you can’t explain a sound in words, you need to get to know the machines yourself.”

Which brings us neatly onto the subject of Blueprint Records. In light of the fact that independent dance labels seem to have dropped like flies in recent years, what gave you the impetus to set up the label?

“The initial idea with Blueprint was to give my music a forum for release, but I could immediately tell that Oliver Ho’s stuff would fit into what I do. I carry out all the day-to-day work on my own, and although the label goes through good and bad periods, sales are generally fairly constant. We’d never feel pressurised into releasing a record a month like other labels, only when we feel we’re ready to, and people tend to look out for Blueprint releases. I’m very happy about the way it got so much attention: it all happened very quickly, in a way it snowballed. The first Blueprint appeared around the same time as other good stuff, like the first Downwards release.”

What about your debut LP, Further Design? Personally, I’ve listened to it about a hundred times and I still keep hearing new sounds . . .

“With Further Design, I wanted to explore further avenues, rather than just make a collection of club tracks. It was a case of softening the edges and taking a more textural approach. I wanted to take the opportunity to do something else because I feel there is a danger of being typecast. Making floor music all the time is boring for me as an artist and for the listener. The psycho-acoustic element of my work is an area I want to concentrate on: positioning sound and exploring sonic possibilities rather than just focusing on the percussive elements. That’s why I’m tentatively thinking of setting up a new label to release this type of music.”

The track titles – ‘Form’, ‘Destination Unknown’ and ‘Internal’ – are as abstract as the music. Is there any reason for this?

“Travelling has become a large part of my life and it influenced much of the album: it’s put me into contact with different cultures and how they react to my music, and their concept of sound: Japan has been the best place to play because the whole culture is very technologically based and is very much geared towards techno.”

Finally, you’ve also gained a worldwide reputation for your DJing, most notably your ability to rock on three decks. Are you just a show-off or is it more a case of earning your money?

“I play on three decks only when the set-up is perfect. It gives me a chance to manipulate records that people already know, and as a DJ it’s more of a challenge, I’m hyperactive anyway, so I can’t just stand there! Everyone involved in this music – the promoters, distributors, DJs and artists – have all got a responsibility to push things forward and work to make things better. If we don’t, we’ve failed, and if you’re a fake and in it for the wrong reasons, eventually you will be exposed.” n

• Further Design is available now on Blueprint Records.

JAMES RUSKIN’S TOP TEN

1. 8: Unititled (Surface)

2. The Surgeon: “Credence” (Dynamic Tension)

3. Robert Gorl: “Sex Drops” (Disco B)

4. Takaaki Itoh: “Blockkk” (Electracom)

5. Donna: Untitled (MMM)

6. Sims & Dax: “Blueprint Mix” (Theory)

7. Richard Bartz: “Subway” (Kanzleramt)

8.Regis: “Delivered Into The Hands Of Indifference” (Downwards)

9. Paul Mac: “Old School Former Pupil (Fragmented)

10. Oliver Ho: “Metaphor” (Meta)