After how enthralled we were with Leonid’s debut EP, LWE was curious what kind of records the young Irish producer would spin. What better way to find out than an exclusive mix? Hear his response in this 60 minute mix of deep techno gems.

LWE Podcast 04: Leonid (60:20)

Tracklisting:

01. Fatima Yamaha, “What’s a Girl to Do” [D1 Recordings]
02. STL, “2 Ya Ear” [Something Records]
03. Sebbo, “Watamu Beach” (Moritz von Ozwald remix) [Desolat]
04. Carl Craig, “Sandstorms” [Planet E]
05. Move D, “Like I Was King” (Black Label Mix) [Compost Records]
06. Lerosa, “One Year Friends” [Enclave Records]
07. STL, “Moonwalk” [Something Records]
08. Marvin Dash, “Untitled” [Out to Lunch]
09. David Caron, “Dreamshower” [Eevo Lute Muzique]
10. Soda, “Motorcity” [Italic]
11. Soylent Green, “After All” [Playhouse]
12. Dimension 5, “Space Travel” [Delsin]
13. Visitor, “Stop the Music” [D1 Recordings]
14. Omar S, “F.O.E.” [FHXE]
15. Downlink, “Jimmin’ Around” [Mosaic]
16. Move D, “Untitled” [Workshop]
17. Telepaticos, “Carpe Sativa” [Enclave Records]

Check out an interview with Leonid after the jump.

When and where did you make the mix?

Paul Smith, aka Leonid: 16 July, 2008. At home in the bedroom with two 1210′s and a three channel Vestax mixer, and Stanton needles which need replacing!

What’s the concept behind the mix?

Just wanted to play some records which I’d love to hear when I’m out. I also wanted to showcase a few artists/labels from these shores who are putting out quality techno: Lerosa, Enclave Records, D1 Records, plus a few of my all time favourite producers: Moritz Von Ozwald, Roman Flügel, Move D, and Carl Craig.

Who are a few of your favorite DJs and why?

An old favourite would be Coco Silvania, who used to play real class deep sets at Soma Experimental Club in Madrid back around ’98 – ’00. Others include Alex Knight (Fat Cat) who I only saw once years ago but it was amazing, Eamonn Doyle (D1 Records/Model One) for music selection, always plays great techno and not what’s the trend at that moment. Greg Dowling and Shane Johnson (Fish Go Deep). There’s loads more.

What can we expect from you for the rest of the year?

Hopefully will have music out on a couple of well known Detroit labels, not saying who yet, though. And hopefully appearing at a small outdoor electronic party in Germany, that has to be confirmed also. Just trying to keep the head down and work on new material.

LWE Podcast 04: Leonid

[Statik Entertainment]

Perhaps more interesting than deep-house’s resurgence is how the resurrected sub-genre has melded with others, like tribal, minimal and dub. The elongating and relaxing side effects of reverb and delay have proven complimentary to the already subdued atmosphere common among deep house cuts. A good recent example of this amalgamated sub-genre can be found on the “Mora EP,” Leonid’s debut 12″ released by Statik Entertainment. Like much of the Leipzig-based label’s roster, Leonid is a complete unknown, except that one of his tracks (featured on this EP) closed out Norman Nodge’s mnml ssgs podcast. After this EP, however, a hungry audience will likely crave more from the hitherto anonymous producer.

Leonid displays a different side of himself on “Mora EP”‘s three tunes, though each is bound to a resolute levelheadedness which varies only in clarity and instrumentation. The eponymous opener envelops thick 808 pulses in an electron-charged fog in which it bounces ever so gently. Things kick off at the arrival of a shimmying rhythm section that gives the ethereal tune enough swing to shake hips. Leaning more towards typical deep-house arrangements (stretched out strings, resonating piano chords), “Resting II [V.1]” lets its dubbed out stabs flicker across the spectrum as splashy percussion and an oily chord progression foment forward movement. Closer “Mora Resting” is unexpectedly shoegaze oriented, as its placid pads warmly embrace listeners surrounded by percussive echoes and syncopated bass; Border Community fans should take note. For a first solo release, Leonid’s “Mora EP” is stunningly crafted and wise beyond its creators’ known years. Perhaps a bit of change beats experience after all.