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Welcome to the first instalment in the YLWL podcast series, in which we give a platform to some of the sharpest musical minds currently doing damage on the scene. First up is Hrdvsion AKA Nathan Jonson who not only delivers a dizzying selection of rare musical nuggets for your enjoyment, but also joins us for chat. Read, listen or read and listen at the same time, it's up to you.

Hrdvsion AKA Nathan Jonson was born and still resides on the west coast of Canada. His creative blend of techno music has been released on various labels, including Remute, Inkwell and Switzerland-based Creaked records (the latter as part of the Starting Teeth outfit). His latest offering, The Mohana, is currently available on Wagon Repair, which just happens to be the imprint run by his brother, the celebrated techno producer Mathew Jonson.

Alongside his own solo work, Hrdvsion has also released various tracks with his brother under the Midnight Operator moniker and his regularly ventured out of Canada to mix up dance floors around the world. In between these shenanigans, he has found the time to produce a video for YouTube in which he builds a record deck out of cardboard (left).

So what's it like having your brother as a label boss?
As it's the label I've released most of my music on, it only seems normal to me. I couldn't say it was different that much as other labels. It's nice to work with family though, as it adds a feeling of greater value. Sometimes I'm working with labels where I've never met the crucial people.

Are you planning more Midnight Operator collaborations?
As Mat is touring so often it's hard to get in the studio together, but we have been talking about another record lately. It's been a long time coming.

What type of music has influenced you over the years, and who do you admire on the electronic scene at the moment?
I've always loved my brother's music and it has always been a huge inspiration for me. When we used to make music as kids, we worked with a midi piano that we had to practice on. We had a two track recorder and a sound bank so we would often write music with it. As we got older Mathew started to buy gear but I stayed within the computer and found myself experimenting with the settings to try to get the limited number of instruments in the bank to sound new and interesting. I think this process attracted me to artists like Squarepusher and Aphex Twin, and others on Warp because of their technically advanced aspects of music-making. My brother and Squarepusher are probably the most obvious musical influences, but there are others like the Beach Boys, Chopin, Model 500, Mr Oizo...and my friends Danuel Tate, Cobblestone Jazz and Jules Chaz.

How do you go about starting a new track?
The process has three different ways of starting; one way is that I hear a melody in my head and then hum it along until I get to some gear to record it. The second way is from a jam session; for example, just starting from scratch and seeing where it takes me. Thirdly is some kind of concept or theoretical idea where it's almost like a science experiment; wondering how certain sounds will react with each other under certain conditions. Sometimes I will come up with an idea for something to build in Reaktor and then a song will come out of the invented ensemble. This last one is my favourite way of working because the resulting song really feels like it's mine from beginning to end, as I have essentially invented the process itself.

Why make the cardboard record deck, and do you have others planned?
When I was a kid I used to make these kinds of videos all the time with my cousin. We had an old VHS camcorder and we would animate action figures or claymation figures fighting and puking - boy stuff, mainly. It's so similar to making music only you can incorporate many different types of art. There are also a few time lapse videos online that I did years ago. I'm sure there will be more videos coming soon.

How is your music received in different parts of the world?
I was surprised to find there is quite a difference; Germany, for example, is much more into the subtle aspects of techno and prefers it to be on the minimal side, whereas in the U.K. I can get away with a little more of the keg party in me. In Victoria, Canada, you can do anything you want - you can even DJ to a full club wearing only your underpants and shoes – if there are enough Strongbows going round.

What new releases have you got planned for the future; an album, maybe?
Remute and I have been doing some work together, and have a Hrdvsion Vs Remute record planned for the end of this year, as well as a Hrdvsion remix of Florian Kicks also on Remute's label. I have been thinking about an album recently. I did an album many years ago but it was never properly released. It was a super limited CD run and since then almost the whole thing has been released in single form. I would like to do another one with Wagon Repair; actually, we are talking whether it's possible as we speak.

How do you think electronic music is perceived these days?
I think a Weezer lyric answers this one pretty well: "...if you don't like it, you can shove it, but you don't like it, you love it.

words: Andrew Laughlin

myspace.com/hrdvsion

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Nathan Fake - You Are Here
Mike Shannon - Darkstar3000
The Mole - Baby You're The One (Edit)
Florian Kicks - Dance With Me Baby (Hrdvsion's Where's The Vaseline Peter? Remix)
Remute vs Hrdvsion - I Love To Dance
Hrdvsion - Saves The Day (Unreleased)
Noah Pred - Obstruction
Bron - Great White North (Le K's Almost Black! Remix)
Hrdvsion - Can I Have A Smoke (Unreleased)
Mathew Jonson - Ultraviolet Dream
Hrdvsion - Arp Jumper (Unreleased)
Tom Hopkins - Sinstadt 2 (Unreleased)