Dave Angel: techno dreams

by Cyclone Wehner

There is something instantly likeable about Dave Angel, who has just spent a long, slumberous afternoon in his Singapore hotel room recovering from a DJ gig. Quickly dispelling all signs of fatigue, the Brit exudes a cocky, warm charm and quick intelligence once on the line. And these are the same animated qualities the DJ brings to his lively and energetic tech-house sets -- encapsulated perfectly on his "39 Flavours Of Tech Funk" mix-album or in the memories of all those who caught his spectacular slot at Gasp Entertainment's party in Melbourne last year. However, Angel's own musical productions tell yet another story. It's the tale of a jazz musician's precocious son, reared on John Coltrane and Miles Davis, who discovered a radical new musical form through which he could channel his own dreams of innovation.

Today Angel stands among the most versatile producers and DJs to appear on the British techno scene. "Jockey Slut" once stated that, 'for a British take on techno, Angel is closest to the Detroit heart.' Through the years other articles have echoed this sentiment. But the truth is that Angel has now forged out his own identity and legend beyond the faraway Motor City. He was raised in material poverty in South London but at the same time grew up rich in musical knowledge and familial bonds. At eight Dave was given a drum-kit by his Jamaican father. By his early teens Dave was playing sessions. Angel was a funk DJ when he later fell under the spell of techno.

No doubt Angel has come a long way since the late 80s when he put out what would ironically be his breakthrough record: a popular hardcore bootleg remix of the Eurythmics' "Sweet Dreams (Are Made Of This)", which the New Wave duo's label, RCA, was eventually pressured into issuing officially. ('I don't even know if I've got a copy myself,' Dave chuckles, the experience but a distant memory.)

Over time, the prolific South Londoner has delivered a series of classic singles and EPs ("Sea Of Tranquility"), together with two fine artist albums ("Tales Of The Unexpected" and "Globetrotting"). Angel became one of the first UK artists to land a deal with Belgium powerhouse R&S and issued his albums through Island Records. And, for the past few years, he has presided over his own excellent techno label, Rotation Records, specialising in 'hard techno with funk.' 'I listen to a lot of demos and just try and bring fresh music forward -- stuff for DJs, too -- and just enjoy it; enjoy helping someone's career.'

After "Globetrotting", Angel left Island Records on relatively good terms and has committed himself over the last couple of years to reactivating Rotation and methodically working on what could be his best album to date. All this between gigs and the occasional studio project. Angel even moved out of London to Bath to refocus. As it happened, Angel was somewhat relieved when his album contract came to an end, because he never felt confident that the major had an understanding of dance music culture or any idea about how to market an electronic musician (it was even suggested to Angel that he abandon his beloved DJing to concentrate instead on costly live, Prodigy-like shows!).

Already Angel has been inundated with offers from other majors but he wants to complete his ambitious third album in his own time and space before inking a new deal. Last time Angel visited Australia he hinted that this LP would be his most musical outing yet, with both live instruments and vocalists. 'We've taken a bit longer than I really actually expected, but the thing is that the time doesn't matter as long as it's good -- the end product. It can take two years, as far as I'm concerned. So I think it's coming together really nice. I've been doing some collaborations -- with Roy Ayers, I'm waiting to do one with George Clinton and I've done another one with my sister, [funk and soul singer] Rosie, who's just signed a deal with One Little Indian.'

In the UK Angel is currently savouring a techno dancefloor triumph with his latest EP, "Knockout", on Rotation, but he cautions that this is hardly exemplary of what Dave Angel represents in 1999. 'You won't be getting that on my album. Rotation is Rotation and it's more DJ tools and underground stuff,' he explains. 'I intend to make sure that everybody realises that I can do many other styles.'

Further attesting to Angel's diversity are the two tracks on which he collaborated with Carl Cox for the latter's "Phuture 200" album. 'We've known each other for years,' says Angel. The sessions were spontaneous and relaxing with the pair agreeing to cut one each of the two tracks, "Yeah" and "Angel's People", in their respective studios. 'It worked out all right. It was fun, really, we just had fun and we got to know each other a bit more.' So who are Angel's People, then? 'To tell you the truth, I really don't know,' Dave laughs.

Given his roots, it's not surprising that Angel should long stress the affinities between jazz and techno -- even applying the term 'future jazz' to his own output, a kinda funky techno-jazz fusion. 'ThatŐs what got me into the music in the first place, because it had that relevance -- that similarity to jazz music. And it was the kind of thing where it was fresh, it was all new, I was young and it was like, "Yeah, I want to get into this; I want to be a part of this." I was lucky enough to be there at that time. And, yeah, it is the new form of jazz.'

So what did Angel make of Carl Craig's recent Innerzone Orchestra album, "Programmed", which could almost be described as a manifesto for 'future jazz'? Dave admits that he hasn't had a chance to hear it, though he did catch one of the Detroit ensemble's recent club performances. 'I'm not sure if a lot of people understood what was happening and I felt really sorry for him,' he reflects. Angel speculates that it would be an interesting scenario for the likes of Craig and himself to 'reverse' the situation by playing jazz venues. Generally, Dave believes it's unfortunate that there should be a divide between different generations of innovators -- in this case jazz musicians and techno producers. Angel tells a story to illustrate: when the Londoner collaborated with Ayers he felt tempted to ask if the legend was in fact previously familiar with any of his own work. Yet Angel couldn't bring himself to do it -- perhaps fearing the awkwardness of such a situation or the pain of rebuff. Melancholy is not a mood you associate with this eternal party man. But, for a fleeting moment, Dave Angel sounds poignant.

When all is said and done, Angel still prefers the excitement of DJing to that of producing music, although, understandably, he wavers when it comes to elaborating. 'I love making tracks in the studio, because you never know what's gonna happen. I used to call the studio "the dark alley", because you never know what's around that corner, and that's great. When you go out to DJ your main thing is to rock the crowd. Once you're rocking the crowd, you're having a good time and you see people having a good time, then you've done what they've paid you to and you can defend your name and go to bed and sleep good.' And hopefully have sweet techno dreams.