October sees the launch of Advanced Records 50th release to punctuate the catalogues impressive 19 year span, this time from former label owner Ade Fenton. Set to be Ade’s first release on Advanced Records since ADV020 in 2004. The upcoming release ‘Manipulator’ features remixes from Ben Long, The Gemini Brothers and Madben. Due for release on Friday 20th October and coinciding with the world renowned industry conference, Amsterdam Dance Event. Ade last released in 2011 as an independent Techno artist and built his name upon the very foundations of the industrial sound and became one of the leading exponents of the scene throughout the late nineties into the millennium. Culminating in multiple Radio One features, over 40 single releases, albums and remixes releases across some of the world’s finest techno labels alongside a full DJ schedule that demonstrated his global recognition, becoming resident for one of the UK’s premier club nights Atomic Jam.

Taking his amassed experience into alternate realms, Ade fluently transferred into producing and co-writing alongside the iconic Gary Numan, delivering three critically acclaimed albums over a 10 year period; Jagged, Dead Son Rising, defined as “one of the great dystopian rock albums of all time” by Artrocker, and Splinter, scoring Numan his first Top 20 album in over 30 years and returning widespread acclaim, with many critics hailing it as the finest album in Numan’s illustrious career. This perfectly positioned Ade to be the producer of Savage, the much anticipated follow up to Splinter for Numan and set for release this Autumn (September 15th). Remaining connected directly to clubland, Ade has managed many key artists that have impacted the industry, including pioneer Dave Clarke. He has continued to push the sound forward and drive the industry as we know it.


Why the return to focus on Advanced now? Are we to expect more Ade Fenton material flooding out?

Techno’s not really been my focus for the past few years as I’ve been building up my career on the producing side and composing music for film and TV, but it seemed like the right thing to do with the label approaching its 50th release. Paul, who runs Advanced now, asked me if I’d be up for it and it just made sense. I’ve actually done a few remixes already this year for Ben Long, Boriqua Tribez and Energun, so I wasn’t too out of practice for this EP. I have no intention making a comeback as I’m super busy with other projects, but it’d be nice to dip my toes in the water every so often as I do miss being involved on an artistic level.

How did it all start for you and what’s the assimilation with Techno?

I was just dead lucky back in the day, right place, right time. My first release on Advanced did really well and it really grew from there, along with the support of some major DJ’s and artists like Dave Clarke, Umek and Space DJ’z. I’ve been into electronic music since the early 80’s, so it’s in my DNA, but techno was the first form of it that shook me to my bones since hearing Tubeway Army’s Are ‘Friends’ Electric? in 1979. When I heard Joey Beltram’s ‘Energy Flash’, I remember thinking “what the fuck is this?!?”. It blew my mind and sent me down a path that would eventually form the early part of my career. Techno, to me, appeals to the most tribalistic of human emotions. The power, the energy, and the experience of being part of a gathering of people who are there to experience the same feeling, sets it apart from other forms of dance music.

Who is your biggest inspiration or do you respect most in the music industry?

So many. Trent Reznor, Gary Numan, Kraftwerk, Aphex Twin, Dave Clarke, Surgeon, Hans Zimmer, Atticus Ross, Christopher Young, Clint Mansell, Danny Elfman. I could go on …

What record has remained in your record box since the beginning and why?

Surgeon’s ‘Badger Bite’. The most intense, metallic, grinding and brutal techno track ever made. He’s a genius.

Are you able to share any tracks that  have remained an Ade Fenton anthem over the years?

Cor, that’s a difficult one. It would probably have to be Luke Slater’s remix of Joey Beltram’s ‘Forklift’. During my time as Atomic Jam’s resident DJ, I’d always start my set with it, and it still makes every hair on my body stand on end when I hear it. Beautiful memories.

What is one mistake you see a lot of up and coming DJ/ Producers making?  What advice would you give to breaking new talent?

Have a back up plan and don’t compromise.

If you could eternally be stuck in one year’s music scene, which year would it be and why?

Haha, cool question. On a club level, it wouldn’t necessarily be just for the music, it would be made up of all of the elements combining to re-create a magical time in your life, so somewhere around 1996, when I was a young pup, enjoying the techno scene, week in, week out without a care in the world. On a professional level, it will always be what’s happening now, not what was happening then.

What defines the perfect club, festival or venue for you as an artist?

An open minded audience.

Not to emphasise the age old vinyl verses digital debate but what’s your feelings on the digital revolution as a DJ and an original analog producer?

I have no problem with digital replacing vinyl at all, but it would be nice to see a few more DJ’s actually being DJ’s.

What is the most treasured piece of kit in your studio and how often is it used?

My studio monitors, which are PMC 228’s. Every day.

Name a track that never gets old for you no matter how many times you hear it?

Nine Inch Nails ‘Gave Up’.

How did you start your connection with the iconic Gary Numan?

We became friends many years ago, and I’d already started working on industrial music a world away from my techno stuff. I played it to him, he really liked it and he began to take a keen interest in seeing how it developed over the space of a couple of years. Eventually, it reached a level where he asked me to work on a demo for one of his songs, which then became an album (Jagged in 2006), and we’ve never looked back. We’ve just been celebrating the success of his new album ‘Savage’ reaching number 2 in the UK Album Chart, which is the fourth album I’ve produced for him now. I owe so much of the success of the second phase of my career to Gary, working with him is a special experience and I hope it continues for many years to come.

Is there anyone else you would love to work with alive or dead?

Trent Reznor, Clint Mansell and Depeche Mode.