Photo: Christiano Terkirdali (Tin Man)

To say that Johannes Auvinen is a prolific producer would be an understatement like no other. After two EPs as part of Absurd’s Acid Test series together with Jozef K and Winter Son as well as John Tejada respectively, the producer known as Tin Man released a collaboration album with Gunnar Haslam under the Romans moniker and has just returned with six 12″s comprising two and a half hours of his very own interpretation of the Acid sound. That is also what he has been almost exclusively focusing on in the past few years, but don’t worry – Auvinen already has two albums worth of material on the shelves again. So he tells us in his contribution to our Groove podcast on this fine March 3rd, or World Acid Day as we like to call it around the offoce.

 


 

Your contribution to our Groove podcast is dedicated to the full spectrum of contemporary Acid according to the date – 3/03. Over the last three decades, Acid has seen a lot of stylistic changes. What for you is the essence of the Acid sound and what was your idea behind this mix?
Much of the development in Acid recently reacts to the pushiness of the original Acid sound by either being more pushy and celebrating the wild boisterous sound of the 303 or pulling it back and trying to carve out some territory in subtler, softer, or sometimes weirder spaces. I think the constant is that the Acid groove still grabs you when it works. The tail ends by Punctum feature some subtler Acid experiments. There are some more psychedelic acid stylings from Inland, Nackt & Jason Kendig, and Minologue. The rest is mostly pushier sounds and few soft refrains with Tin Man Acid.

With Dripping Acid, you have recently released a two and a half hour long album spanning over six 12″s, which represents your interpretation of the genre. What is it that drew you to this rather excessive format?
The basic theme was liquid melodic acid, Tin Man style. The scale of the project grew accidentally because there were so many songs that I adored. The original plan was a double LP. I decided to release it as 12”s so that it would be more accessible than having to buy the whole set as one box.

While your work is stylistically very rich and in the past often has featured your voice – like on the somewhat Austro Pop-influenced Vienna Blue -, you have progressively focused on purely instrumental Acid derivations. Are you not interested in working with Pop structures anymore or hast the 303 become your voice of choice?
I have focused on Acid recently because I wanted to crystallize my vison of Acid. I wanted to release a body of Tin Man Acid that is a singular statement. I do continue with my “Pop” project and have two albums on the shelf.

You have recently worked with the Mexican artist AAAA and Cassegrain and John Tejada while you and Gunnar Haslam have also released your debut LP under the Romans moniker. What are the advantages – and disadvantages, of course – of working with others?
Disadvantages?!? Very few. It is generally a joy to record and play together with my collaborators. Sitting alone in a studio is boring. I suppose the downside is having trouble finding time to meet when everyone is living in different cities. I am trying to find a way to get some time in Mexico DF again to work with AAAA.

Speaking of which, you have recently published an essay penned by Gunnar through XLR8R. In it, he highlights the connection between the „rise of fascism“ and neoliberalism, the latter also heavily affecting the Techno scene according to Gunnar. What possibilites do DJs nowadays have to resist the capitalist logic that almost inevitable affects their life – and what can the ordinary raver do to make a difference?
You can look at every scenario as a power relationship and react to the role you are put into as subject or master. But, I think people would rather see themselves as the heroes of their own story. I see myself that way. It’s me against the world. I think to really make a difference you would need to save the economy. Perceived financial insecurity of the middle class is at the root of political turmoil.

 


Stream: Tin ManGroove Podcast 96

01. Punctum – Uncharted
02. Simic – COROT-7b (John Tejada Remix)
03. NonniMal – Freya
04. Gunnar Haslam – Scale No Flam (Servito and Cudmore Bass Shift)
05. Death Abyss / Tomohiko Sagae / Inigo Kennedy – Pakkanen
06. Inland – Acidly
07. Kwartz – Control
08. nthg – In The Afterglow
09. Nackt and Jason Kendig – Nightshade (demo/early version of Night System)
10. Spektre – Minds Eye (Drumcell Audio Injection Remix)
11. Dustin Zahn – Fire in the Sky
12. Minilogue – Endlessness
13. Cassegrain & Tin Man – Polyacid Blue
14. Minilogue – When Sadness Releases, Joy Arises (Grindvik and Zahn remix)
15. Tin Man – Undertow Acid
16. Peter Van Hoesen – Situation Two
17. Tim Wolff – Backstage Fridge
18. Tin Man – Evaporated Acid
19. Uchi – Pride is Poisen
20. Punctum – Glory Bitch

Tin Man on tour
3/3 Elipamanoke, Leipzig
24/3 (Cassegrain & Tin Man) Villa Rouge, Montpellier
25/3 (Romans) Berghain, Berlin
31/3 Oost, Groningen
1/4 De School, Amsterdam
5/4 Housepitality, San Francisco
9/4 Acid Camp, Los Angeles
5/5 Texture, Detroit
6/5 Output / Greyscale, Brooklyn