Deadbeat Meets The Mole

January 2021

People who like Deadbeat Meets The Mole also listen to Deepchord, Fluxion, Monolake, Pole, Anders Ilar, Fenin, Mikkel Metal, Echospace, Rod Modell, Claro Intelecto.

BLKRTZ released Deadbeat Meets The Mole on Mon Jan 11 2021. The 10 track Techno release features Deadbeat, and The Mole. **BLKRTZ** has also released vinyl by [Paul St Hilaire](/artist/paul-st-hilaire), [Letizia Trussi](/artist/letizia-trussi), [Ark Welders Guild](/artist/ark-welders-guild), [Sa Pa](/artist/sa-pa), and [Shackleton](/artist/shackleton). Browse the [BLKRTZ catalogue](/label/blkrtz). People who like Deadbeat Meets The Mole also listen to Deepchord, Fluxion, Monolake, Pole, Anders Ilar, Fenin, Mikkel Metal, Echospace, Rod Modell, Claro Intelecto.

Dewalta

Shannon

Mike Shannon

Deadbeat is one Scott Monteith, an adopted Montrealer who has been releasing his own special blend of dub laden, minimal electronics since 2000 for labels such as Cynosure, Intr_version, Revolver, and Scape. Deadbeat has performed at some of the world's most respected festivals, including Barcelona's Sonar, Berlin's Transmediale, and Montreal's own Mutek. From 1999 to late 2003, Scott worked, assuming various roles, for the Montreal based company Applied Acoustics Systems, makers of the Tassman Software Synthesizer. Having now moved on to pursue his own musical efforts full time, the experience has left him with a passion for the development of new creative interfaces, and a strong grasp of some the most cutting edge technology in the industry. Whether crafting quirky, not-quite-dancefloor techno, or rumbling digital dub,Scott continually strives to create music that honors the past beyond empty tribute or cultural appropriation, by infusing the digital tools of the present with a little of the magic known as human imperfection. Hindered only by the occasional buffer underrun or synapse misfiring, Scott continues to search for his own unique voice between the ones and zeros.

Deadbeat

Seventies Hungarian funk, Youtube outsider artists, the dustiest of old Bollywood relics—all is fair game when it comes time for The Mole to pull either inspiration or wax for his house-heavy DJ sets and live shows. Decades in, the Vancouver native still gets the jitters before a performance, which speaks a lot to his ethos. For a guy for whom a record bag is so much more than the sum of its parts, every gig is a big deal. And if you've ever had the chance to catch him in action—be it DJing or jumping between his MPC and a sole turntable—, you'd agree. Low-key and loved by many, the rambling capitán of Maybe Tomorrow possesses a steadfast commitment to keeping it groovy above all. 'And weird!' A normally elusive creature, The Mole can be found most at home behind a DJ booth during the wee smoky hours in the midst of long, drawn-out sets. The more time for injecting a bit of Marvin Gaye here, some Mercedes Sosa there, the better. Known for his love of sonic collage and musical noodling, he boasts a long and colourful list of releases—for labels like Perlon, Ostgut Ton, Slices of Life, Haunt, Musique Risquée, New Kanada, Internasjonal and longtime home Wagon Repair. A relentless digger with an utter disregard for the structural capabilities of his living room floor, Colin is on a constant one-man mission to keep the record store industry afloat. This means, in his case, approaching music with the kind of open-mindedness and humility necessary for not only acquiring, but learning. Which might be what makes him an ideal bandmate to his friends in Modern Deep Left Quartet and Units & Measurements. 'That—or the fart jokes.' It's the low profile, the constant smile and a genuine love for music that make The Mole, an artist with a career spanning over 20 years, an easy one to recognise at a party. He's the guy with an ear-to-ear grin on his face, wondering why in the world he's getting paid for having so much fun.

Deadbeat Meets The Mole

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