SFs Electronic Music Scene Remembers Essential Figure Alland Byallo, 19792023

SFs Electronic Music Scene Remembers Essential Figure Alland Byallo, 19792023

"Since I'm no longer a DJ or trying to achieve anything professional with this project, people everywhere seeing my dirty 40-year-old face is not one of my main goals," DJ and producer Alland Biallo joked in the interview. 48 hills magazine in 2019, where he demonstrated his talent for self-deprecating humor. Sorry snowflakes, if this quote confuses you, then you didn't know who Biallo was.

The joke was on his release, Rule of Thirds , the first of many techno-jazz and deep house projects he was tackling on the then-new Full Bleed label.

Alland, who died suddenly last month at his home in Berlin after an illness, was creative, giving and loving. The creator of joy. The thing is, he made a big mess. But he never played much.

I wrote for some of these publications not because we were friends, but because they were great. direct slaps The veteran techno producer is back from hiatus after relocating from San Francisco to Berlin and hitting the charts. Rock on for now. Fast and deep, sometimes true Brook fans will say "Oh dear!" These publications were numerous.

Full of love, allowing you to walk unhurriedly in these penetrating holes.

Biallo found greener pastures again and boy was he a reaper.

It hit us like a bolt of lightning when a key figure in building San Francisco's current techno scene left us. This Friday the 29th, the Alland Memorial: A Memorial and Celebration of the Life of Alland Biallo takes place from 9:00pm to 2:00pm at Underground SF, where friends gather and play their music all night long.

Will Sumsah, the last person to interview Biallo on Channel 5 Mag on July 11, felt the producer was heading for a new beginning.

“I think everyone at 5 Mag has known him and his music for a long time, but it was the promotion of the latest EP ( Fill Light Shine ) on the Full Bleed label that made me want to interview him. he said

"He was also the most kind and understanding recipient of my promotions for Only Good Stuff, and since the beginning, I left BBE [Records] to run my own business, he was very supportive of my new venture. and how empowered and positive I felt a message or comment from him every time I picked it up.

“We had never met face to face or spoken on the phone, but I was surprised by how open and honest he was in his answers during the interview. He left Beatport right after the interview, so we had to make some changes and he seemed to really find himself musically and as a person in general. I think some of the fears and doubts we all had were gone and I was excited to see what he would do when he got his way (paraphrasing what he said). For me it's about fighting imposter syndrome, burnout, etc.

In short, he seemed very good and pleased with himself and his creativity.'

Born in Los Angeles, Biallo studied piano and trumpet as a child before turning to electronic music in the early 90s, inspired by his first couple of albums. After a brief stint at WAX Records in Los Angeles, he moved to San Francisco in 2003.

San Franciscans remember Biallo as one of the founders of [KONTROL], the pioneering monthly EndUp party of the 2000s, the city that introduced minimalist techno sounds from Berlin and one of the most respected techno events in North America.

The high-impact party, founded by Greg Bird, opened at RX Gallery in 2005 and moved to SOMA's EndUp in 2007, where it ended in 2012. As his full-time DJ, Biallo shared every stage. night with Josh Wink, Matthew Dear and Modeselektor. The seven-year-old guest list looks like the talent catalog that underpins many outdoor music festivals today.

[KONTROL] brought together the best underground house and techno artists of the time. The platform has helped Biallo reach Berlin's DJ spots Panoramabar, Watergate, Bar25, Cookies and Tresor. However, it all goes back to those first Saturday nights at the modern intersection of 6th and Harrison. In high season, the sound was unfiltered, blasting out into the streets at 6am with heavy organic house and dark minimalist techno.

[KONTROL] was the standard for cities around the world to create their techno and minimalist scenes. Like the San Francisco drum and bass phenomenon ten years ago: art creates commerce. MutekSF appeared on the market in 2018. Do the math.

We reached out to close friends, colleagues and local electronic music historians to explain the legacy of our brother and friend Alland Biallo:

48 Hills: How was your relationship with Allandi?

MARK BARRIGHT aka DAVE AJU: We have been close friends and associates for over 20 years. He met her around 2000 while working at WAX Records in Los Angeles. When he moved to San Francisco a few years later, they became much closer, and even more so when we both moved to Berlin for a while.

SAMMY DOYLE aka SAMMY D, [CONTROL] DJ: He was a brother and friend for life. We were very close during his time in San Francisco, and that relationship continued even after he moved to Berlin. Alland was also a colleague I trusted and a man I respected a lot. The foundation of my musical career.

GREG BIRD, WRITER [CONTROL]: He was a friend of mine, a music lover and a good heart. From brochures, posters and promotional materials to booking and overall concept, we work very closely together. Along with my other [CONTROL] siblings, we hung out together, traveled together, and were generally one big, happy, dysfunctional family.

VINYL DREAMS RECORDS aka MIKE BEE by MIKE BATTAGLIA: I wasn't really close to Alland, I knew him through the [KONTROL] people since I knew Greg Bird and Nikola Baitala. He was very friendly and we shared the same stage several times before and after coming to Berlin. I remember one evening Blasthaus opened in the old BOCA (Contemporary Art bar) right there in Mint Plaza. before the techno-scientific scene reached its current size.

Yes, there was a little scene with Mad (Joe Rice, Monty Luke) and Static, but the KONTROL guys really nailed it. He was part of Alland's music, and although he was not a regular visitor, he went there from time to time and always enjoyed what he did.

48 HILLS: Can you describe what it was like working with him?

DAVE AJU: He was one of the few people I could turn to for various references on sources of inspiration. We both grew up listening to jazz as kids, became big hip-hop fans, then house fans, and finally techno snobs, so in any session or interaction, he or I could reference anyone from Ahmad Jamal to De La's Ornette Coleman. Shabazz Palaces, Gemini, MAW, Basic Channel or Jeff Mills and don't miss a thing.

At the end of the day, all the work we've done together, whether we've worked solo with each other or together in the group KAMM or the DJ group Something Something Something, has been an open fusion of all these things, which has been incredibly refreshing. and rewarding experience. . This result has led me to all the music projects I have participated in. We are about 40% finished with the new and final KAMM LP that Kenneth Scott and I are working on as a tribute to our son.

48 HILLS: How did [CONTROL] come about?

GREG BIRD: [CONTROL] It grew out of a conversation I had with a musician friend in early 2005 (it was Ryan Fitzgerald of Broker/Dealer, if I remember correctly) who lamented the lack of representation of these musicians in SF. the emerging sounds of minimal techno and micro-house were becoming increasingly popular in other parts of the world, especially in Germany (and Europe in general).

His response was, "Well, you know what they say... if you want to do something..." I took his words to heart and called my friend Sammy Doyle and told him he should have a party. organize something We're talking about some "weird German shit" we got into then. I asked him for an idea of ​​who else he could go for, and he immediately suggested Alland Biallo, who had just moved from Los Angeles to San Francisco.

I had never met or heard of Alland until the meeting we arranged a few days later, but we immediately knew he was doing great and he enthusiastically agreed to join our mission. Soon after, we met Will Lynn of Blasthaus, who is not only an experienced music curator, but also runs an art gallery and music space called RX Gallery. He invited us to host monthly nights there and even helped us book our first band, an almost unknown Swiss duo with an unpronounceable name who played live techno without a laptop or home equipment. Unbelievably, that first night was packed and the atmosphere was something none of us had experienced in a long time. We knew we were on to something and decided to stick with it.

48 HILLS: Can you talk about their music?

DAVE AJU: He took these big musical influences and looked at them through a visually oriented lens. I don't think he had synesthesia, but every sound he made definitely had a "feel". Sonically, he often returned to his Eastern Bloc roots with a more icy, weird and wild approach to songwriting, giving his work a unique flavor combined with the warm swing of his jazz music, hip-hop and other house styles. wealth

Given the tragic circumstances, there are a few songs where he jumped on the mic, such as the closing track "Singularity" from his (in my opinion) best Bones album, Flesh . Or my favorite piece of music, "Who's More The Fool," which always gave me goosebumps long before I was buried.

SAMMY D.: Alland was the embodiment of the avant-garde and was completely dedicated to his craft. He worked tirelessly behind the scenes, running his own labels over the years: Nightlight Music, Bad Animal, Full Bleed. He also produced under the name Kid Grimm, which was one of my favorites. Also a member of the KAMM supergroup. His music will live on in us and those he touched.

GREG BIRD: He was always true to himself. Their sets included everything from classic deep house to avant-garde techno, with no limits to their musical palette. In his productions he did not shy away from experimentation and was never focused on commercial success, but on personal expression; In that sense, he had the soul of a true artist.

48 hills: And your mood?

DAVE AJU: He's without a doubt the funniest son of a bitch I've ever met. He didn't always show these cards to everyone, but when he did it was like nothing else. It can range from borderline seven-year-old humor to the funniest and most disgusting high school jokes that would make Larry David cringe. Note that this only applies to daytime hours. If you were one of the lucky ones who saw Biallo's humor much later, then in bright colors, the level of laughter cannot be measured.

My mother once said to Alland, Kenneth and me during a visit to Berlin, after a celebratory dinner with lots of wine and then jokingly, "How the hell do you do your job?" Good times would be the understatement of your life.

SAMMY D: What a card. I can stand at his wits end with his quirks and quick observations. We spent many nights laughing at each other. That is what I will miss most about him.

MIKE B: Alland was always nice to be around, and his somewhat dry sense of humor brought him and I together because I can't be friends with people who aren't funny.

GREG BIRD: Stupid. Amusing. sarcastic But behind it all is a truly kind, thoughtful and inspiring person.

48 HILLS: How important was he to the San Francisco electronic music scene?

DAVE AJU: It revived and revived the whole sound and movement and further changed the city's approach to a global electronic dance sound. Make boring and sleepy trends like techno and minimalism even sexy. Along with old friends like Gold Code, The Tourist and DJ Wrong, Witchita Ron aka Witchita Ron, he'd been trying out techno parties for seven or eight years before Alland landed in the port of San Francisco. But he, along with Greg Bird and Sammy Dee, [KONTROL] managed to present the band in a much more accessible and stylish way (largely thanks to their brochure graphic design skills, as opposed to Jeremy's middle fingers). Fish ink). which were before).

Suddenly all the DJs in San Francisco started jumping on the bandwagon. West coast house heads got fired and they started buying louder, weirder, breaks and D&B DJs started playing minimalist, techno and stuff that I almost punished. I used to party in San Francisco like bad AF. Acid house records have become ubiquitous, now you can't go to a San Francisco club event without hearing these sounds.

This was all Elland, no doubt.

SAMMY D.: At that time, its importance was immeasurable. Many were known and respected in the scene. Their strong design skills were the driving force behind our momentous celebration. He created and created a brand that continued to influence other parties, labels, events and DJs long after he moved to Berlin. The sense of community in this growing music scene was unmatched by anyone I knew at the time.

His foresight to create Electrus, the premier techno forum before the advent of social media, was ahead of its time. It was a valuable tool for promoters in the San Francisco techno community and across the United States. Through this online forum, he made himself available and organized tours of international artists across the United States.

GREG BIRD: Without Alland, [CONTROL] would probably be a couple of people talking about ideas that maybe didn't get off the ground. His work has inspired many other artists, musicians, producers and promoters. The late 2000s brought an explosion of sci-fi talent, most notably Alland's. I think he was probably the most influential person of that time, at least in my circle. All those who have celebrated this event over the years have expressed their gratitude to Alland for helping to make San Francisco the exciting place it is.

48 HILLS: Can you describe [CONTROL]'s influence and legacy?

SAMMY D: It was a big party when it happened. We really had our finger on the pulse then. The timing was right and we are incredibly lucky to have such a dedicated team. The most useful aspect of [KONTROL] was the branding. It became an organization that gave us the freedom to be creative with our reservations. With the full support of The End Up, we have managed to attract talent from around the world and showcase many emerging artists who have gone on to have successful careers. We hope his legacy is firmly etched in the history of the electronic music scene here in San Francisco and in the United States.

MIKE B: Well, [KONTROL] basically created the techno scene we have now and paved the way for As You Like It and other promoters to organize events more often and attract more open techno DJs, especially many from Germany. .

GREG BIRD: It really meant a lot to a lot of people and definitely played a role in promoting the sci-fi music scene. When we closed the party after seven years and over 100 events, I certainly had nothing to complain about.

48 HILLS: What do you miss most about Alland?

DAVE AJU: The list is endless, man. Besides, he was one of the few friends who could satisfy his hunger for food and drink. But lately, the hardest thing in the humor department is missing the dirty talk three or four times a week, the memes and messages we send each other either directly or in our SSS group. It helped me get through hard days and weeks like nothing else. Ето подесьциее, поляжающее поверить в то, что в его оссуденция у The most important thing is against travel. I choose to create a comedy addition to KAMM's latest story, which I hope will perpetuate and illuminate, as he was able to lift the mood of his beloved friends and we are.

СЭММИ Д: Kazhetsya glupým, but you are this bыла егегодная рутина. And that was the name of this plastic and, of course, the name of the dochno liquid. And from скачать: "This plastic is избражением џунглей на обложке". On the other hand, there was a big comment about it, but I didn't see it, that's it. This takes 10 minutes. On the other hand, it was published in poetry and information. Я nga never described nazvaye or filled, potomu что мне нрав или наши маленкие ежегодные раскопки и начто мне нрав и наши маленкие ежегодные раскопки ета и начто мне нрав и наши маленкие ежегодные раскопки. I knew he also likes the absurd. And you should listen to these moments as soon as possible.

GREG BERD: Ego soqba, ego paraannostь vetmu dolu, ego jamasshedshie didgeroyat no восхитительная трудовая етика. Alland got it. Of course, my ship has nothing to do with it.

МАЙК БИ: He approached me a few years ago and asked me to do it. This is Animal Crackers poda. This is a very big mix, and that's it. On the other hand, they are also delicate and naked. Don't worry at all.

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