05.12.12

Influences

Thomas Melchior

Mr. Melchior will make his DJing debut in Dublin when he plays The Breakfast Club

 this Saturday, the 8th of December 2012 at The Dark Horse, Dublin 2. 

As a producer with such a varied and interesting career, we were intrigued to find out what records he would regard as influential. Thomas kindly took the time to tell us about the ones that have been 

important to him throughout his life. 

Doors open at 7am. Get down early to avoid disappointment.

The Beach Boys - God Only Knows (Columbia, 1966)

The melody for this track was inspired by a John Sebastian song. Brian Wilson hated the opening line but was  persuaded by co-writer Tony Asher to keep it in. As with a lot of Beach Boys songs, unusual instrumentation was used. This track features french horns in it's intro.

"I love vocals and I think The Beach Boys bewitched people with some of the greatest vocal parts and harmonies ever. There's a spiritual, cosmic side to the Beach Boys' music. I love all that mystical surf stuff."

Listen: The Beach Boys - God Only Knows

James Brown - Sex Machine (King, 1970)

This was released as a live album, however, most of it was actually recorded in a studio and reverb and applause were added later. Features Bootsy Collins on bass.

"This is the music I started dancing to when I was young. It's provocative and irresistible. 

This introduced me to Funk and Afro-American music - which I fell completely in love with."

Listen: James Brown - Sex Machine

Herbie Hancock - Raindance (off the Album 'Sextant', Columbia, 1973)

Herbie Hancock's last recording with the Mwandishi Band. Although it received critical acclaim, it's new direction (which relied more heavily on synthesizers like the Arp 2600) alienated some of his fanbase.

"Psychedelic, trippy jazz experimentation from my musical God."

Listen: Herbie Hancock - Raindance

Cabaret Voltaire - The Crackdown (Some Bizarre Records, 1983)

This album that marked Cabaret Voltaire's departure from their industrial roots to a more New Wave type of sound. Co-produced by Flood.

"This is like Depeche Mode but way darker and cooler. Seminal underground electronic pop music".

Listen: Cabaret Voltaire - Why Kill Time (When You Can Kill Yourself)

Brian Eno - Ambient 1: Music For Airports (EG; Polydor; Virgin; GRT, 1978)

The first of Eno's experimental 'Ambient' series. The music was intended to be looped as a sound installation that would negate the tense, anxious atmosphere of an airport terminal. Eno conceived of the idea while being stuck in Cologne Bonn airport in the mid-1970s. Recorded with Conny Plank and also featuring Robert Wyatt.

"I'll never forget the first time I heard this. The sound of peace and eternity".

Listen: Brian Eno - 2/1



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