Sâmbătă 10 August, 22:00 Terasa Baraka – în Parcul Herăstrău, intrarea Charles de Gaulle
Fără prea multe comentarii, vă lăsăm cu toate coordonatele pentru o adunare prietenoasă într-un weekend de festival în capitală. O ieşire de sâmbătă în „grădină”, conturată în jurul muzicii „de sezon” şi o întâlnire cu unul dintre cele mai reprezentative act-uri de pe scena în continuă schimbare din Bristol, UK.
Operating from the core of Bristol's bottom-heavy 4/4 contingent Outboxx have releases on labels such as Idle Hands, BRSTL, Immerse and Well Rounded. Outboxx are one of the city's most recognisable acts whose work gives colour to a tough bassweight staple with jazz-inflected smokiness and key-driven hooks that defined house music. This hybrid sensibility and respect for the wonder years adds a unique and forgotten authenticity to both their live performances and DJ sets, where dancefloors are seduced by uplifting melodies and pummelled under low-end pressure in equal measure.
Something a bit different this time as we adventure in a sound area we haven't really been to before, with this series. The itinerary is Rapala's work, one of the go-to-guys when it comes to soulful, laidback vibes and jazzed-up dance grooves as well.
Needless to say, Rapala is a DJ for almost 10 years now, he's an avid records collector, he comes from Targu Mures, he resides in Timisoara, he is half of LBC Kru - which he runs alongside WRK and he's always made a good appearance playing a wide range of sounds, from Funk & Broken Beats up to Drum & Bass; at the Summer Break, TMBase or AnonimTM 48H stages or with the likes of Jon Kennedy, Fort Knox Five or Ed Royal, amongst others.
The present audio material "has been built in a rush", we were told, but I think it's safe to say it doesn't feel like that even a bit. It's all a smoothly put together collection of world-music influenced, percussion-mad, keys & synth-driven electronics with a pinch of Swing and Kwaito here and there, hosting insanely good works from Antibalas Afrobeat Orchestra or (the early-days) Freq Nasty, among others. It's brilliant! And since it's got a ridiculous amount of flavours to choose from, we reckon it will make an impression with those of you enjoying a carefully selected world cuisine of sounds.
Tracklist:
01. Black Dog With Black Sifichi - What Do They Want? [Hydrogen Dukebox] 02. Doctor Rockit - Veselka's Diner [Lifelike] 03. Floating Points - Shark Chase [Eglo Records] 04. Culoe De Song - The Bright Forest [Innervisions] 05. Renovation Unlimited feat. Roy Ayers - Antonata (Atjazz Remix) [ObliqSound] 06. Henrik Schwarz & Amampondo - I Exist Because Of You (Henrik Schwarz Live Version) [Innervisions] 07. Club Des Belugas feat. Brenda - Some Like It Hot [Lola's World] 08. Sofi Hellborg - Wouldn't That Be Fun (Señorlobo & Watch TV Remix) [Ajabul] 09. The Boogoos - The Journey - Ghana '74 (Dusty Remix) [Jazz & Milk Recordings] 10. Antibalas Afrobeat Orchestra - War Hero (Guajiro) [Anti-] 11. Dousk - Gìgi [Klik Records] 12. Trüby Trio - Satisfaction (Salzmann & Zech's Slowdown Mix) [Compost Records] 13. Freq Nasty - Incredible Acoustic Properties [Botchit & Scarper] 14. Repeat - End Up [A13]
You can catch Rapala playing sort-of on a regular basis at Al-kimia in Timisoara but for more information go directly to the source. A mix archive can be accessed via Soundtracker here.
Not much chit-chat needed. Wrapping up 2011 on 10th of December this year. A night out where we intend to play whatever it is we played most out there for the past 12 months or so. And also where we would like to see most of you fellas following our activity online.
Same old venue: BASE Cafe(Str. Sepcari 22, centrul istoric). We're starting at 22 sharp and since it's a one-off, there will be no admission fee.
Spinning:
✦ BLACKTEE ✦ (Hsuan Records, No Stranger To Danger)
We had our first encounter with Dan Bazix’s take on House and Techno music a couple of years back. It was in a small club in Bucharest, alongside Cosmin TRG, Seb and his long-term mate – Addo. At the time we were quite mindblown by the fact that he was one of the few DJs around that came from a Drum&Bass background and managed to transpose the influences and energy drawn from 170+ bpm music into sounds at a significantly reduced tempo.
We thought – for one of the last two podcasts of this year – it would be a good idea to recreate the soundscape of what proved to be one of the best nights out we ever had, and showcase Dan Bazix’s take on the same genres at another specific point in his evolution as a DJ, regardless of his still-ongoing activity in the Drum&Bass sphere.
Something a bit different (or not really) from himself – curating takes from the geniuses of Maceo Plex, Crazy P, Maya Jane Coles or Waifs & Strays, to name just a few. It should get everyone with a functional pair of ears and a soul, groovin’ out there.
Tracklist:
01. Oni Ayhun - OAR001-A [OAR] 02. Audiofly - Sunrise BCN [All Day I Dream] 03. Love Girls - Black Sand (Original Mix) [Little Mountain] 04. Maceo Plex - Your Style (Maceo Plex Re-Visit) [Crosstown Rebels] 05. Dekay feat. Nunu - Farewell To Planet Earth [Dirt Crew] 06. Elon feat. Maceo Plex - Floating Faces [ReSolute] 07. Marquez Ill & Leigh Myles - Control [Voltage Music] 08. Maya Jane Coles - Perfect Imperfections [Mobilee] 09. Rodriguez Jr. - Bittersweet [Mobilee] 10. Johnwaynes - The Yeah Yeah (Original Mix) [Cecille] 11. Waifs & Strays - Be Patient [Futureboogie] 12. Teva - I Wanna Be (Original Mix) [Off] 13. Nick Curly - Green Baize [Cocoon] 14. Bicks - Mint (Extended Version) [N/A] 15. Terence (Terry) - Time Doesn't Count (Shaun Reeves & Tale Of Us Remix) [Lowpitch] 16. Schatrax - Restless Nights [Schatrax] 17. Midland - Through Motion [Aus Music] 18. Fink - Move On Me (Marcus Worgull Edit) [Philomena] 19. Greg Paulus - Nightime (Crazy P Remix) [Wolf+Lamb Music]
BASICS:First of all, I’ve come to learn it’s quite hard to find much about Dan Bazix on the internet or wherever else. You don’t really talk about yourself too much and that makes me think there might be people out there not knowing some crucial facts from your yet-unwritten biography. Tell us who Dan Bazix is, as succint as possible.
Dan Bazix: Uh, well, I never tried to promote myself too much. Maybe this is the reason why one cannot find too much information about the so-called “Dan Bazix”. Well, the nickname comes from an early Downtempo / Hip-Hop project that I started at the end of the 90s. I was caught by the vibe of electronic music in 2001, I believe, when I first played in a small club in Tg. Mures (my hometown). To give you a hint of what I was playing back then, see one of my favourite tunes at that moment - Soul Providers feat. Michelle Shellers - Rise (M.A.S. Collective Remix). In the meanwhile I found joy in some higher tempos, listening to Calibre & Marky. Then, soon, came a first 12” order to redeyerecords.co.uk. Bought two belt-drive turntables and did the first mix. First records order consisted of four items, two of them were Marky & Stamina on V, Dillinja on TOV. Nowadays I’m going back to “my roots” playing in the “360 philosophy” – no matter the tempo if the vibe is the same. I think this gives a clue about who I am and what brought me here.
B:So...do you remember the night we’ve just mentioned? Cause we’re talking full-on bullshit in the description above. We actually can’t remember much. Refresh our memory please.
D.B.: At that moment, me and Addo, started a new project. Both playing Drum&Bass for a long time, we thought about trying to go in another direction. We did a mix with some tunes around 135 bpm and we received quite good feedback. The Infamous boys (i.e. Seb & TRG), at that moment, invited us to a small club event, somewhere around the old city centre of Bucharest (n.r. The OtherSide). Well, I cannot remember too many things, we had a few drinks, so… You know, that a “DJ” has good days and bad days. That was one of the best, let’s say. I remember that the feedback was good, and even if there were not too many people, they stayed up late. I think we managed to create a cozy, warm, friendly and fuzzy atmosphere.
B:Ok...it’s been quite a while since then and, in the meantime, you’ve been insanely busy in almost every single way there is. What keeps you preoccupied and how does it reflect in your music?
D.B.: Pff, once you grow up, priorities change. And unfortunately the word “job” comes in front of “hobby”. I must say that music was always connected with the second one, never took it really seriously. Well, besides being DJ I’m now a teaching assistant at TUC-N, working as a freelancer in structural design and recently received my PhD (doctorate) in Civil Engineering (which I’m quite proud of). I think this excuses my very sporadic presence on the DJ scene. To equilibrate, I focused a little bit on producing. I am running the “Dan Bazix” project and started a new one - called “Bicks”. I know, tunes that I produced by now sound a little bit rusty. I haven’t found the patience to stay one full day on a tune to finish it, yet. Even If I was a perfectionist before starting my doctorate studies, now after graduating, is even worse. And, unfortunately, this reflects in my DJ-ing & producing activity.
B:There are two areas of sound you feel most at home with as a DJ. There’s Drum&Bass and there’s House music. What’s more likely you’d spin nowadays and why?
D.B: After a few years of DJ-ing, the genre that one plays is probably just a façade for continuing what one has started a long time ago. I am sure that many of the DJs that are well known would try playing some other genres but they are limited because of their already-chosen path. Well, probably just Laurent Garnier has the balls to switch from Deep House to Drum&Bass in the same set. In my case, as a (hobby) DJ, I will continue to play Drum&Bass because I spent many years and it would not be fair to totally lose the connection. Fortunately, in the last month I had two Drum&Bass gigs which went very well. This gave me the strength and energy to continue with 170+ tempos.
On the other side, I will play House, but I think I will use the other nickname, so people can know what to expect. Let’s see what the feedback for this mix will be.
B:There seems to be common ground between your Drum&Bass and House selections. It’s quite obvious you’re looking for the same elements and reactions in both these genres. What’s that something you always hope to find in a track when you’re digging for fresh music, regardless of its tempo? And more important, how often do you manage to find it?
D.B.: I was always driven by positive, warm and cosy vibes. I like my sets to have, not only funk, soul and the proper amount of deepness, but “a little rate of hooliganism” as well. I think I am looking for the same receipt in both genres. Unfortunately, Drum&Bass (and Dubstep), at a large scale, lost a little bit of this vibe, so maybe this is the explanation for why I changed “roads”.
Fortunately, I cannot forget old habits and I am checking online record stores almost on a weekly basis, to see what fresh beats have been released. Of course, as many, I am listening to mixes of the artists that influence me.
B: Personal favourites at the moment? Drum&Bass tracks and their correspondents in House music or vice-versa.
D.B.: Oh, that’s quite hard, to find a connection. Let’s see!
170+ DBridge – Since We’ve Been Apart [Shogun] 120+ Daniel Bortz – Boyz 2 Men [Suol] ___
170+ Lenzman – Broken Dreams [MDZ] 120+ Mano Le Tough – Baby Let’s Love (Midland Remix) [Dirt Crew] ___
170+ Marcus Intalex – Stark [Dispatch] 120+ Todd Terje – Ragysh [Running Back] ___
170+ LSB – Beep [Demand] 120+ Pan-Pot – Captain My Captain (Rodriguez Jr. Remix) [Mobilee] ___
170+ Foreign Concept & Kasra – Show You [Critical] 120+ Jichael Mackson – Gti (Zimbabwe Mix) [Stock 5]
B:Let’s focus on Bicks for a moment here. It’s something new both for yourself and for us. Give us the proper insight.
D.B.: I think Bicks would be Dan Bazix at 110-130 bpm; mainly, at a producing level. I have noticed, it comes much easier for me to put the ideas together at lower bpms. One of the tunes, “Mint”, is on this mix. Thanks to Sergiu Nadasan who actually made an extended / DJ-friendly version of the tune (as I told you before, cannot find the patience to finish tunes). You can take a look on soundcloud.com/danbicks to draw a conclusion – “A tune is worth a thousand words”.
B:I’m sure some releases are foreseeable in the future. Did you come to think about what labels might act as the perfect hosts for your productions? Who would you send a demo out to and why?
D.B.: Firstly, I have to finish some of my 80 sketches that I have started. Secondly, the tunes have to sound perfect. Just, then, we can speak about releases and labels. Anyhow, few of my favourite labels are Exit, Soul:R, Metalheadz (on 170+) and Mobilee, 8-bit and maybe Crosstown Rebels (on 120+). Probably Exit & Mobilee are two of the big labels that I dream to reach. But the road is veeeery long…
B:How’s the future gonna split between Dan Bazix and Bicks? Any specific developments planned for these two characters?
D.B.: Regarding the producing part, I can say that always depends on the mood, what I have seen in the last days, where I have partied last night; just leaving my soul & mind to choose the path. It is true most of the tunes that I have started in the past three months are 120+, but I will go back to the 170+ soon.
When it comes to the DJ-ing part, well, I will go wherever I am called. I love to play both as much the same way. I like playing Calibre to kids that expect Kill the Noise aka Pendulum and as well to play Deep House to musically “untrained” spontaneous crowd in cafés or small clubs.
B:Share some thoughts on the mixtape you just recorded for us, please.
D.B.: I have selected a series of vibes put together in a positive mix, that hopefully will be appreciated by listeners. I know that I have changed the tracklist entirely for at least 3-4 times. At the end resulted what you have heard. Don’t know if the tunes are fresh or popular, I tried to create a story “readable” by anyone, as I always tried with the any of the mixes done. I have a theory that a mix has to follow a Gaussian trendline, but this is a discussion that has to take part after a couple of beers… haha. Hope you, all, enjoy it.
B:Something you’re most looking forward to in the near future?
D.B.: Concisely: a trip back to Barcelona, where I’ve lived for almost one year. Stamina was right when he said: “all I wanna do is go back, back, back” (i.e Marky & Stamina – Barcelona). Luckily I will catch James Blake, Jamie XX & Jamie Woon in a live concert. Since winter is here: snow, snowboard, Christmas, gigs and all things related with this period of time (as they say: “the small things that bring joy”).
Professionally speaking, hopefully, I will get funding for an 18 months post-doc scholarship in Switzerland.
As for the rest, “go with the flow”.
B: Thanks for taking some of your time to do this. It’s brilliant that we get to share your first mix after a long waiting period. Cheers for that and best thoughts from our corner!
D.B.: Thanks for asking me to record this mix. If it weren’t for you, probably 2011 would have quite dry from the mixes perspective. I never was a good friend to recording mixes and doing them up to the deadlines. Hope you all enjoy it! Peace and #occupyeverything!
As for the next step, keep in touch with Dan's works as Bazix - SoundCloud and Bicks - SoundCloud and keep an eye out there for him on your local Drum&Bass rave or House jam line-up.
There’s a certain gentleman lurking around the local Techno scene, we’ve been taking interest in even before BASICS was born. He’s got quite the interesting performances list so far, alongside the likes of Jeff Mills, Miss Kittin, Chris Liebing, Pantha Du Prince, Lawrence, Alex Under or even the less-conventional Fantastic Mr. Fox & Svetlana Som Sistema and according to himself plays “music for the mind that lives in a dancing body”.
Alexandru Jijian is our 12th guest in the podcast series and believe us, there’s much to learn about what proper deep, dark & deadly 'floor music means from his set. Of course, we’ve also taken the liberty to ask him a couple of questions that aim to sort out some of his views for the wide audience.
Tracklist:
01. Basic Channel - Radiance II [Basic Channel] 02. Fatih Tuter - Untitled [Shoreless Recordings] 03. Guido Schneider - Moesko [Poker Flat] 04. Theorem vs. Swayzak - Devil Of Rotations [M_nus] 05. White Label - White Label [Promo] 06. White Label - White Label [Elektro Music Department] 07. Frozen Border - 4.01 [Frozen Border] 08. Horizontal Ground - Thirteen Step [Horizontal Ground] 09. Szare - Action Five [Idle Hands] 10. Sascha Rydell - SR2 [Fachwerk Records] 11. Traversable Wormhole - Superluminal (Sleeparchive Remix) [CLR] 12. Gonno - ACDise #2 (Skudge Feels It Version) [International Feel]
BASICS:First of all, where did you come from, musicwise? Your sets tend to leave an impression that there’s quite an interesting listener behind your DJ persona. Take us through your history a bit.
Alexandru Jijian: I think I’m a regular guy amongst my friends. I just have a taste for electronic music, I’ve always had. I can’t really say how much or what I’ve listened to in particular because I’ve always been open to hearing new sounds, you know, forever searching for something new and all that bla bla. What I can say is that I’m quite the geek when it comes to music history: I’ve been through most of what should be listened to at least once in a lifetime.
B:I know there is a number of specific sounds you like as a DJ, ranging from experimental bits to quite ambient-ish stuff to synth-driven weird-you-out and serious warehouse Techno. Which one of these are you most at home with?
A.J.: All of the above. The last couple of years I’ve been mainly into Techno but I guess that’s what I’ve always been into without really knowing it. (Autechre, Clark and all the other Warp Artists which I love).
I am, however, taking the liberty to underline a misconception which I don’t like: people or friends have a tendency to tag me with the Techno stamp and, although that’s what I’m most confortable with, I’ve always considered myself more of a Music Lover more than a Techno Head. This is why I will play House or what not if the time is right.
B:A bit of reflective talk. I’m curious about the philosophy behind your sets. Expecially now, at a time when the crowds seem to get moodier and harder to drag in and please each week. Who do you play for and why?
A.J.: I play for whoever comes to hear me play. I do it because I don’t feel at ease until I share the music I love with the other music lovers and party goers such as myself. I like longer sets with slow warm-ups. 3,4 hours up. Gives me the time to get to know the people in front of me better (and vice-versa, of course). To infinity and beyond!
B:I know you have quite an alternative vision on how a healty electronic music scene should look like. I won’t get into what’s good and what’s bad inside the current state of affairs but I’m quite interesed to see how this ideal of yours looks like. If you’re willing to share.
A.J.: I miss The Web Club very much. That’s all I have to say.
B:You’re an avid party-goer as well. You’ve always been. I’m curious, besides Techno and sounds you’re familiar with, what gets you dancing in a club?
A.J.: I’m actually a very big fan of Drum and Bass. I’ve been to Dub Mafia and LTJ Bukem and MC Conrad recently and had a BLAST! Really good, good times man!
B:Small club with an intimate vibe and a „close to the people” feel; warehouse, Funktion One and a massive 2000+ crowd going absolutely mental or studio / radio session for some hundred listeners? Which one suits you the best?
A.J.: The fun I had at the radio definitely has to happen again. I have to choose massive crowd going mental, who wouldn’t want that?
B:From the top of your head: best gig you’ve had so far and a fictional line-up you’d really love to be a part of?
A.J.: Best gigs actually: The Closing Set I did for Jeff Mills and Miss Kittin at Arenele Romane in 2010 / The 6 hours set I did in Raum (Cluj) at an afterhours in December 2010.
Best fictional line-up: Boards Of Canada, Aphex Twin, Plastikman and in the morning a concert with Sebastien Tellier.
B:Are there any „most played tracks” for you this year? Fresh stuff you’ve really been vibing to? Both as a DJ and as a listener.
A.J.: I’ve played a lot the stuff from Horizontal Ground, Frozen Border, Stroboscopic Artefacts and Prologue. Vlad Caia and Cristi Cons have had a pretty good comeback (producing music wise). I love their stuff a lot!!!
B:A couple of words about the mixtape? What is it aiming for?
A.J.: I think it’s a really smooth mixtape going through what I like to listen to when it comes to experimental Techno.
B:As per usual, it’s been a pleasure. Thank you!
A.J.: Thank you! Hope you enjoy it!
Thus being said, get connected with Alexandru Jijian for your regular feed of proper beats via Facebook or SoundCloud.
We used to strongly believe that when it comes to new talents on the so-called UK Bass scene there aren’t that many people actually living outside of the UK worth taking into consideration.
Fortunately, in the past 12 months or so, there have been some names popping up all over Central & Eastern Europe that have shaken those beliefs and managed to make us look like fools. Don’t get us wrong, we’re glad that happened, and we’re absolutely thrilled that one of those guys comes right out of Bucharest. His name is Blacktee and you may have seen him being mentioned on Boomkat or XLR8R – just to mention a couple of trustworthy proper sound pushers – by now.
He’s got a couple of singles out already on Hsuan Records and the newly founded No Stranger To Danger Records, he is quite the badman selecta when it comes to DJ mixes and he’s agreed to sign our 9th podcast in the BASICS series and tell us something about himself, his background and his plans for the future.
Tracklist:
01. Raffertie - Mimetic [Ninja Tune] 02. Motor City Drum Ensemble - There's A Truth [Faces Records] 03. Kangding Ray - Coracoid Process [Rater-Noton] 04. Theo Parrish - Sky Walking [Peacefrog Records] 05. Roman Flugel - Bahia Blues Bootcamp [Dial] 06. Julio Bashmore - Ribble To Amazon [3024] 07. Deadboy - Wish U Were Here [Numbers] 08. SBTRKT - Look At Stars [Young Turks] 09. 2562 - Fever [When In Doubt] 10. SCB - Loss [Aus Music] 11. Spectr - Dance 4 Me [Roska Kicks & Snares] 12. Roska - Holograph [White] 13. Hanuman - Bola (Atki2 Remix) [Idle Hands] 14. Unknown (Main Mix) [N/A] 15. Blacktee - Software [Unreleased] 16. Ben Westbeech - Something For The Weekend (Breach Remix) [Strictly Rhythm] 17. Toddska - Cowboy [Girls Music] 18. Blacktee - Lunar Love [Unreleased]
BASICS:So, what about you? Presumably everyone who’s an addicted digger on the scene has some information about you and your sounds. The average listener might not know that much tho’. Some basics about yourself?
Blacktee: I’m a pale young man, that loves his mother’s cooking and is obsessed with a good bassline.
BS:Let’s talk about production a bit, cause obviously that’s mainly what you’ve been doing so far. The first thing I’m interested in is your influences and what got you into building beats.
BT: I started producing as a way to pass time, and slowly started to be something I can’t go without. I have a large variety of influences, but the main ones are Techno, 808, UK Funky and Jazz.
BS:The classic software / hardware talk. What and why and how do you cope with it?
BT: Software, I use Fruity Loops cuz it’s soothing to my tastes and easy to use, as for the hardware, anything goes as long as you do it properly.
BS:Taking what you’ve released so far into account, it’s easy to notice that UK Funky is one of the main attractions for you, but I feel that somehow there’s more to it than that. Your productions are not quite the classic approach for this style. I wouldn’t compare them with what people like Crazy Cousins, Paleface, MA1 and the lot are building. There’s more of an Ill Blu / Lil’ Silva feel there. Something like „ok, we’ve got the classic soca-ish drum patterns, let’s take it as far as we can into the limits of the genre”. That’s actually something easy to spot in Plasmid (as seen on XLR8R). How would you describe your sound? Is it something you plan ahead or?
BT: I don’t realy plan anything ahead, it just comes to me. I enjoy sitting alone in a room and trying to find sounds that have that jazzy, futuristic kind of vibe to them. My music gravitates around these types of sounds, which further become melted into a track.
BS:Also, you’ve been putting together different stuff lately. 128 bpm Techno bits. There are guys like MMM down at Hardwax thinking out of the box and blending UK Funky riddims with classic Techno elements, getting the bpm higher than the usual 125-126 zone. Is that what you have in mind as well for this switch?
BT: Actually it is, I’m trying out new waters, like Techno and Funky and I think they would go well together. I’ve tried to mix them up in my sets and they come along just fine. Maybe someday this could be a new genre, who knows.
BS:Sticking to your up to date releases. These are definitely a couple of singles that do not lack coherence. While No Stranger To Danger goes for the more agressive, dancefloor-ish Tek Yu Time and the „take it to the next level” Plasmid, Hsuan picked what tends to be more laidback, something you’d groove on both in the club and at home at 5 AM. How was the selection for these two labels made, considering the fact that you / they had and still have a large number of unreleased material to choose from?
BT: Well, Graeme from Hsuan contacted me some time ago via SoundCloud to release an EP - I didn’t really know much about the label back then - and told me he liked the tracks DunKno and Blazin Up, which had that kind of laidback vibe they where looking for. I then listened to the other releases from the label and they kind of matched my style a bit so that was that, we signed up and good things came from that. As for NSTD, it’s the kind of label who can bring you releases with both the clubnight banger vibes and the laidback kick your feet up kind of music.
BS:No Stranger To Danger. You have quite a special relationship with this brand new label on the scene and I’m gonna take advantage of that. Care to share more info or insights than what is already well known? Cause I’ve been checking out some of its connections, potential future releases and it kinda has what it takes to be out there with the good ones! Unless it’s classified information, I’m interested!
BT: Haha, yeah you caught me on that. The special relationship comes from the fact that NSTD belongs to my blud brother and mentor, who I dearly love and hate at the same time, but without him I wouldn’t be here doing this. So you guys should watch out for further releases cuz I had a sneak peak on the next one and all I have to say is „oh my days, keep your ears open!”.
BS:Unreleased stuff. You’ve been busy, there’s loads of it on your SoundCloud and I’ve been through it a lot before writing this set. I know Sweetin’ is getting a release soon on Future Electronic Music’s FEM Picks. Any other plans? I’d personally love to see Romantiques on a 12” along with Spatial Cohabitation. Those two would tell a story together. Also Concrete Jungle is something different and it’s worth checking out. How’s the future settling for you?
BT: I’m always making tunes, finding new ways to hurt my ears with bass music, but right now I’m waiting for that big break, that big record deal.
BS:I’ve been talking with lots and lots of people, both newcomers, veterans and label owners and most of them seemed to be complaining about how hard it is to put music out there and get it noticed nowadays. I wanna ask, do you share the same view? Is it actually that big of a problem or is it a matter of quality and that’s all there is to it? How hard was it for you, getting your first tracks released? This could very well act as a bit of advice for other young producers out there.
BT: I have to say, it’s pretty sh*t, spending hours and hours writing emails to DJs and record labels that don’t reply back, but you just have to keep sending them tunes over, you never know who’s gonna stumble upon your track.
BS:Besides studio work, you’ve been putting together mixes for quite some time as well. Both as promos or for radio shows. You tend to keep it in the 130 bpm / dancefloor lines (sort-of) with what you’re mixing. What’s your DJ-ing philosophy?
BT: I believe they should make you dance in your chair and bob your head, even if it’s home alone whilst your mom is watching and having a laugh or on the streets listening to your iPod.
BS:How about some artists / tunes you’re really into at the moment? Small list? As per usual, no genre borders, no age limit.
BT: The artist I’ve realy been into lately is Blacksmif, a fellow SoundClouder that is absolutely an amazing producer, Machinedrum, Boddika, Motor City Drum Ensemble, Scuba as for tunes, I’m really diggin’ Wiley – Link Up at the moment.
BS:Finally, tell us a couple of words about the mix you’ve just put together for us? Facts worth knowing.
BT: It’s a combination of Techno and UK Funky tracks that I’ve been into lately + some of my own productions.
BS:Thanks for your time mate and I wish you the best of luck, loads of time to spend on building stuff and keep the proper sounds view going! Cheers!
BT: Pleasure doing this. Big up all the BASICS lot! Cheers!
Thus being said, please get in touch with the latest news regarding Blacktee's sounds via his own SoundCloud account or his Facebook page and if you're round Bucharest this weekend catch him spin alongside Son Of Kick & Dubsidia @ Atelierul de Productie on Sat. 17th of September. Pay attention!
We’re slowly moving on into the double figure podcasts and, for 011 we thought we’d sort out another curator’s edition. Just as before, this serves as a platform for the better understanding of what we and our fellow promoters / DJs / writers on the local scene actually spin and aim for in terms of sound.
Since we’ve mentioned Future Electronic Music quite frequently for the past year or so, it only seems fair to give its head-honcho – Snygg – the chance to explain some of the thinking behind what he’s doing at the moment and showcase his personal selection for us through a smart mixtape.
For those of you who’ve been off the loop for the past twelve months, Future Electronic Music is a Facebook lurker pushing all sorts of next-level-ish beats ranging from -100 to well over 160 bpm, curating podcasts and reviews from time to time via their blog and releasing fresh unheard-of talents for your listening pleasure via FEM Recordings.
Quite the fucking achievements-list, from some guys who are not even in their twenties yet and could have spent their leisure time getting wasted and raving to Jump-up Drum&Bass instead of doing what they’re doing, we think.
Add up Snygg’s potential as an upcoming DJ on the scene and his official debut alongside names like Kode9 or Joker a few months back and it should raise enough awareness for you to bookmark everything you find on the web with these fellas’ names on it.
But as we don’t like praising anyone THAT much, we figured it would be for the best to let Snygg say a couple of things about FEM and the mixtape he’s put together for us.
Comprehensible words and dancefloor-submission Techno included.
About FEM:
I can't really say too much about FEM. It all started in June 2010 as a Facebook fan page. It was actually a wish of mine to promote the music that I love. After a few months, the page increased in terms of its fan base a lot, spreading around the world, especially in the UK, in Romania (where we are based), in the USA & in Germany. After seeing the popularity of the page rise, I was kinda forced to make this project bigger. So we started our blog in June 2011. Basically, the blog will be a platform for our FEM Podcasts series, whose purpose is to promote talented unheard-of artists, plus other stuff like reviews, party chronicles etc. In addition to that, the Facebook page will serve as a daily hub for quality electronic music. In the near future we will try to expand our fresh project called FEM Recordings into a serious label selling 12"s as well as digitals. So far, we've released a free download compilation called FEM Picks with sounds from the likes of Palace, Jackie Dagger, Leibniz and so on. Be sure to check it if you did not! Right now FEM is consisted of Snygg (Paul Popa) - founder, DJ & writer - aerverde (Ion Lazar - DJ, writer, graphic design (helps with the logos, artworks) - & Bateman (Jack Bateman) - DJ (Tight Music Bristol, Dubs.tek) - with who I will try to put a FEM clubnight out when I relocate to Bristol in September.
About the mix:
The mix is consisted of some sounds that I am into right now. I can't say I have a fixed sound to be honest. Depends of the mood & line-ups I guess. I can mix from Disco, House, Techno, UK Funky to bassy 140 bpm stuff or even Juke. It's not actually a studio mix but more of a club set. So I hope it will move you wherever you are. In my opinion, the most interesting part of the mix is the intro. It is an unreleased tune by Leibniz. Such a talented artist. You really need to check him.
Tracklist:
01. Leibniz - Alle [Unreleased] 02. Sigha - Fold [Hotflush] 03. Roman Lindau - Lyrica [Fachwerk] 04. Vrip - UV [Ostgut Ton] 05. Anthony Shake Shakir - Travellers (MRSK Remix) [Rush Hour] 06. Wax - Wax30003 B [Wax] 07. Francesco Tristano - Idiosynkrasia (Ben Klock Remix) [Infiné] 08. Appleblim & Ramadanman - Sous Le Sable [Aus Music] 09. Furesshu - Lucid (Shifted Remix) [Project Squared] 10. MRSK - Black Keith [Rush Hour] 11. Mike Dehnert - Umlaut2 [Clone Basement Series] 12. Roman Lindau - Crasse [Fachwerk] 13. Mike Dehnert - Teilfolge [Delsin] 14. DJ Bone - We Control The Beat [Subject Detroit] 15. Cosmin TRG - De Dans [50 Weapons] 16. Plastikman - Spastik [NovaMute]
Thus being said make sure you check Snygg’s sounds via his SoundCloud account and keep in touch with Future Electronic Music on Posterous and Facebook and with FEM Recordings via their Bandcamp.
For the past four or five years we’ve been given the chance to witness a rather large number of intelligently engineered independent labels spawn all over the world, most of them having the sole purpose of pushing electronic sounds to a whole different level.
One of these labels in particular has caught our attention and it is, alongside its two freshly crafted sisters and their owner, the subject of our 10th edition in the podcast series – cover story and Q&A included.
Well Rounded Records has been around for a couple of years now. It is an open-minded label based in Brighton, UK, focused mainly on putting out state-of-the-art productions on acetate support and has been responsible, among other doings, for Deadboy’s discovery and part of his debut on the world stage, for the heavily anticipated Cash Antics EPs and for housing brilliant, both upcoming & established producers at critical stages in their development process as artists, such as Hackman, Doc Daneeka, C.R.S.T., Submerse, Littlefoot or Kidkut, to name just a few.
Having 10 releases spread across its whole existence so far and a weird-you-out logo, Well Rounded established itself as one of the important experimentalists on the ever-growing UK Bass scene, specializing in House, Techno, Dubstep, R&B and Bass Music fusions and, in almost every single case, packing the results up for the dancefloors. From Deadboy’s heavily rinsed U Cheated, the rare appearance of the House / Funky infused project – Ultrasound and the brilliant Donga & Blake – Grown Ups EP (including a staggering Geiom Remix), to the Future / UK Garage takes of Littlefoot, Submerse or C.R.S.T. and Kidkut’s bangers, this is one label that is not afraid to make a number one priority out of reaching its own maximum potential diversity.
And as if its horizons weren’t broad enough, there are now two more personas of it in the game: Well Rounded Individuals – which has seen two Juke and Post-Dubstep-ish releases from talented young producers like Wheez-ie or Graphics getting pressed – and Well Rounded Housing Project, mainly focused on putting out classic House takes from the likes of James Fox or Outboxx.
To top it all, add up these three labels’ ages, multiply that number by 10 and the result should tell you the approximate amount of time their owner, Donga, has been around for, spinning and building tunes and getting involved with clubnights, record stores, bands and whatever music-related thing you can possibly think of.
We managed to steal some of his time for a smart and personal mix and a rather consistent Q&A that should give you a more in-depth perception of the philosophy behind Well Rounded and its subsidiaries and get you up to date with Donga’s take on music in general, amongst other good-to-know facts.
The mixtape itself is a true masterpiece. A complex journey through what Donga’s influences and current musical preferences look like and through what Well Rounded means from a sound showcase point of view.
It’s a pleasure, it’s very very clever and we highly recommend it!
Tracklist:
01. The Haxan Cloak – Hounfour (Temple) [Aurora Borealis] 02. 2000 and One – Crystal [100% Pure] 03. Deadboy - Heartbreaker (Julio Bashmore 2010 Remix) [forthcoming Well Rounded Housing Project] 04. Alex Jones – Romania Pika [Hypercolour] 05. Dom – Blakelock (Donga & Blake Dub) [877] 06. Donaeo – Party Hard (Instr.) [White] 07. Urfali Babi - Disko Kebap [Nublu] 08. Malik Alston – Dance Jazz [Soiree] 09. Arkist & Kidkut – One Year Later [Hotflush] 10. Hackman – Your Face Pulling My Hair [Greco-Roman] 11. Kris Wadsworth – Mainline [Hypercolour] 12. Dubkasm – There's A Dub (RSD Remix) [Sufferah's Choice] 13. West Norwood Cassette Library – Get Lifted [WNCL] 14. Presk – Mold [4th Wave] 15. Kowton – Show Me [Naked Lunch] 16. Skinnz – Get It On [forthcoming Well Rounded] 17. E-Dancer – World Of Deep [KMS] 18. Ex-Pylon – Hammerfest [Studio Barnhus] 19. Monolake – Melting [Imbalance Computer Music] 20. Graphics – Adjectival E [Well Rounded Individuals]
BASICS:You’ve been in bands, you’re a DJ, you’re a producer, you own three labels, you’re putting nights on, you have a job, a beard and you have a thing for owls?! Anything else we should know about you?
Donga: Yes, I’m utterly mad.
B:Before getting into more current stuff, I’d like to talk about your history as a musician, producer and DJ. I know there is quite a number of projects you’ve been involved with. You’re a veteran. What are your roots? What did you use to build or spin back in the days and more important, what stayed with you after all these years and what faded away with time?
D: Well my father was a mobile DJ. As a child I used to go with him when he played at the more family orientated functions and he would leave me in charge when he needed a break. I learnt to cue and crossfade aged about 5 I’d say. I’ve stayed on vinyl and turntables to this day - to date I haven’t played any MP3s or CDRs in clubs ever.
Production wise I released my first electronic production in 1993. I have released countless records under a large amount of guises. When I started, myself and 2 friends pooled our equipment together and created a basic home studio. We had an Atari computer sequencing our MIDI equipment and a sync-box to keep our analogue sequencers in time. We had a very labour-intensive Casio sampler, guitar FX pedals etc. In fact I made some of my own earliest released material with only a drum machine, one analogue synth and a four track. I think it’s true that if you are keen to express yourself you can do it with very little. The desire, passion and inspiration needs to be there. The equipment is not so important.
Anyway, so this is all hardware gear being fed into a physical mixing board which was the most rewarding stage for me. Doing live takes to digital tape, fading things in and out, muting and un-muting, adding live FX. Sometimes random mistakes would provide the highlight of the version - things you couldn’t design or predict in advance.
B:That brings us up to date with three names you’ve been associated with lately: Donga, Chirm and Ultrasound. I know two of them – Ultrasound and Chirm – are collab projects and the third one is subject to that as well (Donga & Blake). A short background check on each of these? Any other active moniker I’ve missed out on?
D: Ok, Ultrasound is a vehicle for myself, my cousin Chaos and friend Richter. Myself and Chaos have collaborated since the 90s so we have quite an innate understanding of each other’s strengths and weaknesses. Richter brings in ideas that are more likely to push us into different creative possibilities beyond our established language.
I think that within collaborations, although the physical input can vary from track to track and person to person, what is invaluable is people’s personalities as catalysts. Everyone approaches an instrument in their own way. And sometimes it needs a person other than yourself to see potential in something you may dismiss.
Chirm is just myself and Richter. We live in the same town so we get a chance to meet more easily and often than Ultrasound which does lead to some tracks being made.
I produce with Blake quite frequently and this has worked well because we met through DJing where we realised we had a lot of musical taste in common. When we got in the studio we discovered we could combine his ear for texture, production and the technological side of the equation with my ‘give me a midi-keyboard and not a mouse’ approach.
B:It’s not easy to narrow your productions down to a certain style, genre or even bpm and I think it’s fair to say your tunes are often quite different from one another. There’s Housey stuff at around 120 bpm, there’s UK Garage / Funky influenced faster stuff, there’s slo-mo, 100 bpm, dubby material – Ultrasound – New Direction on Clandestine Cultivations – and so on. How would you describe what Donga, the producer, actually means in terms of sound?
D: No-one has ever asked me a question like this! Basically, I try to avoid definitions in life. You can’t always tell a book by it’s cover and it’s ignorant of people to think they can. I can’t pinpoint what my aim is with sound - it’s led by instinct and the mood of the moment. I believe it should be reflexive, evolving, open and free. Being over-concerned with style or form as a pre-text to being creative leads me into blind alleys. It’s just electronically realised music.
B: Obviously some of the stuff you’ve been building found a home on your own main label – Well Rounded Records. Tell us a bit about how this label was born and why?
D: Deadboy has been a long-term friend. He was occasionally sending me his tunes just for some thoughts and feedback. I had the tracks that became the ‘U Cheated’ EP for quite some time. I had no intention of starting a label, but these tunes had started playing in my brain. Eventually I realised that I thought they deserved to be pressed on vinyl and might sell. I contacted Martin & Jackmaster at Rubadub to get their advice and opinions. They were very excited and supportive. So the label began….
B: Let’s talk about the material Well Rounded Records has released so far. Diversity seems to be one of the leitmotifs for this label. What are its borders in terms of styles? Where do you think it stands on the scene at the moment?
D: This is tricky. I don’t really like borders but I think there are limits to how diverse you can be with just one label. So I started another 2 haha!
I guess Well Rounded is more for cross-fertilisations and hybrids of House, Funky, Garage, R&B and Broken. I would consider releasing any combination within that range that works for me. I guess the releases are mostly around the 130 bpm area.
As for where we stand, I find this almost impossible to pinpoint as we kind of exist in a bubble. I don’t necessarily feel too much of a kinship with any one scene or label hence the need to start a broad-minded outlet of our own. Although not an influence, Planet Mu is perhaps the best example I can think of a label where I sometimes have no idea what style the release will be until I put the needle on the record, yet I buy and enjoy a high percentage of what they put out. So props to them.
B:When it comes to a varied catalogue, I always believed there’s a thin line between catching people’s attention and alienating them. You’ve managed to keep things well on the bright side so far and gained serious support from both DJs and listeners out there. How are the tracks picked and how is the release calendar put together? Is it a natural progression of things or is it something planned well ahead? Like a matter of putting the right record out at the right time.
D: I discover people in all sorts of ways, sometimes I approach them and sometimes they send things to me. It’s difficult because I now receive so many demos I don’t really have enough spare time to check and respond to them all. I try not to over-think the picking of the material, similar to how I select records to buy in a shop. I pick things based on whether I have a strong emotional or physical reaction to a track. In the best cases I will have both responses. I try not to let the market or current trends taint my outlook on what we should release.
Sadly with the production of vinyl there can be difficulties and delays. This means things can take a long-time to come out. I just have to hope that whatever feeling caused me to select the material endures until it’s released. Once I have committed to a release it joins a queue. We are scheduled quite a long way into the future.
I hope people appreciate the extra effort of us releasing on vinyl and are prepared to wait a while longer to get it on the sexiest format available.
B:Cash Antics. A couple of words on the concept behind this EP series, its name and the artist / track choices so far? Are there plans for a 3rd installment?
D: Right, Deadboy had amassed a few tracks based around R&B acapellas and we picked 3 to put out as a cheeky EP - a really fun project. The vocals were either by Cassie or Ashanti so we combined the names to come up with Cash Antics. It also played into a fantasy of us being playas or high rollers.
For the second one we knew we wanted to put out ‘Fireworks’ and that our friends Gongon & Bad Autopsy had ‘Mag’ that was a big favourite with us both. So we took the concept further and decided to make it Various Artists EP this time around. Skinnz got in touch with ‘Turn U On’ and Doc Daneeka reminded me of his re-edit of Gatto Viola’s ‘Backstabbin’ Angie’. It’s a pretty sick EP I reckon.
We certainly do have plans for a 3rd but we are subverting the formula. We need to extend the concept but take it into a new area. I don’t wanna say too much at this point. It should be out before the end of the year.
B: Well Rounded Individuals is something I’d like to talk about in extent. You started it back in March to provide for even fresher(!) sounds and artists. Why weren’t Wheez-ie’s or Graphics’ sounds suitable for the main label in your opinion? Is the Individuals name something that states the fact that each record / release is self-sustained, unconnected to past or future stuff on the label?
D: You’re correct, as well as saying these producers are talented Individuals who have their own unique sound, I was also hoping people would view each release as a stand-alone statement that may not link to subsequent projects.
I heard Wheez-ie’s Juke material and thought it offered a fresh and exciting take on the style. I fell in love with one track in particular, ‘Leave Her Alone’, which I couldn’t resist asking to release and we started to compile an EP together. I think it’s a quite brilliant selection.
However, I felt that putting out something in such a notably different style might be a step too far on Well Rounded so started to conceptualise another outlet for things that didn’t fit on the parent label.
We are getting Wheez-ie back on the label. I really rate him. We also have an EP from Distal who produces music in all sorts of directions but often with a vibe that’s really unusual. Check his recent Tectonic and Fortified Audio releases for evidence of that. His EP for us, which includes a track produced with Chicago’s DJ Rashad, is an absolute banger I promise. We also have an EP in the pipeline from a young man called Spare based in Notts, UK. I won’t attempt to categorise his music but there’s a quality to it that’s strange and exhilarating.
B:Well Rounded Housing Project is the youngest of the three labels under your protective wing and, quite frankly, it has put out two releases that I personally find as being absolutely brilliant. James Fox – New Jack Swing is an amazing take on extensive R&B samples use, while Outboxx are taking on boogied down House and Jazzy influenced stuff like there’s no tomorrow. This label is more limited in terms of what it releases and it has quite a simple philosophy behind it, right? You give it a properly built House track, with lots of groove and a strong personal input from the producer and it basically puts itself out.
D: I feel very at home with House. I had an epiphany when I was younger. I thought dance music should be hard, aggressive and fucked-up. Then one night as an impressionable teenager, I took some acid and ended up at an illegal party where a bunch of guys that looked like football hooligans (the smartly dressed kind) were freaking out to this slower 4/4 music with soulful vocals and messages. It blew my mind. I suddenly saw all these links back to Soul music and Disco. I realised I could finally openly enjoy this music that my peer group often sneered at. I left them to listen to whatever nosebleed nonsense they were into and started buying US imports. I guess the music on Housing Project reflects all the diverse forms I believe House can take, as people will discover across the releases. I am very excited by all the different approaches we have curated to put out on this label. I believe spreading the word of House music should be like a crusade. When a House track hits the spot it is righteous and will last all time.
B: There’s common ground between Well Rounded and its sublabels. They all are digital labels as well, but they have acetate at their core. The name itself suggests it. Please expand on that a little bit. How does putting stuff out on wax reflect for a label in 2011? How about the three vinyl only releases so far – Cash Antics Vol.1, Vol.2 and WRHP001? Is it a white label thing or?
D: The vinyl-only projects are for when we feel we are unable to do a high-profile or full release of material based around extensive sample use. To sell digitals of these would take the piss whereas we have to sell a certain amount of vinyl to recover our production costs.
The name of the label does have a double-meaning relating to both the physical shape of records as well as when something is said to be ‘well rounded’ which, by my understanding, means having a healthy balance of different qualities. My position is that if we are unable to continue to justify releasing all our material on vinyl then I will close. Digital as the only format does not embody enough achievement for me to bother. I know a lot of my views are unfashionable and our world seems to value convenience over most things but I want something that I can feel - both musically and physically.
B: Separate topic now for future plans and releases you’d like to mention. There must be something in store for each of these installments. How about some Donga material? Is any of your stuff getting a release soon?
D: I’ve mentioned quite a few things above but the next 2 or 3 things are Skinnz’s ‘Put It On’ EP on Well Rounded, I like to think of this as colourful bruk-Garage. You need to hear it perhaps to understand what I’m trying to express there. That will hit the streets in September. This will be followed by an EP by xxxy who I’m a big admirer of. When we last discussed material he was considering a track he made with us in mind that had big hands in the air potential and brought a massive smile to my face. It’s gonna be wonderful.
Next over on the Housing Project we have a 12” of both of Julio Bashmore’s remixes of ’Heartbreaker’ by Deadboy. I’m really proud to have Matt come across to do something with us, I’ve DJed alongside him a couple of times and I’ve been really impressed. I’ve been playing out the white label of this and it’s going down brilliantly! This will also be out in September.
I’m gonna drop at least one EP of productions that I have had a hand in before the end of the year. This will include a Donga & Blake re-edit and an Ultrasound original tune on it for sure and possibly a 3rd from another related project. We’re still tinkering with that.
B:Let’s talk about Donga – the DJ for a bit. What are your favourite sounds at the moment? You play out quite a lot and you’re a DJ that knows how to connect deep / smart sounds and dancefloor material in a set. What does your usual club selection consist of, if you have one?
D: If you start playing out regularly you can’t avoid playing some of the same tunes for periods of time but it’s important to me to always mix things up from past to present. I deliberately drop energy down to build things back up and mix across styles and so on because otherwise I don’t feel challenged and that‘s what brings out the inspired stuff in me.
I think this can have varying results for crowds if I’m honest depending on what they expect from a night out. There are always plenty of people who are gonna step up and play all the bangers you know and love, or impress with a set of completely unreleased dubs by them and their artist friends, so if that’s what you want, don’t bother checking me. I feel in our mad quest to know what the next hype is we are overlooking so much good material in the present. Our culture is too disposable. I think it’s quite healthy to alternate between the familiar and the challenging. Contrast is where it’s at for me.
B:You’re also a huge vinyl enthusiast / vinyl exclusive DJ. How large is your collection and what are some of your most priced possesions?
D: My collection is into the thousands, some at my mother’s home and some at my current flat. People have suggested the floor might collapse which actually made me think! However, I respect people that maintain a tight reign on quality over quantity. Having this many records can make things difficult, I sometimes go through hundreds of records before a gig without finding certain things because I have no filing system in place. I don’t look at market values for records, some things that you can find for pennies are the best records I’ve ever heard. My most prized possessions would probably be records I can imagine I might still want to hear at retirement age, say something like Miles Davis’ ‘In A Silent Way’.
B: In relation to that, tell us a couple of words about the mixtape you put together for BASICS. Selection, how it was recorded, etc. And last but not least, why the Noizy Tables thing?
D: Noizy Tables is a reference to my badly set-up Technics. There’s all sorts of rumble and stuff. I look at records that I’ve been feeling recently and without practising put them in an order that I imagine may work. Then press record. If I end up over-rehearsing or thinking out mixes they become a drag to make. I feel as a DJ I’m in a transition at the moment, I sense something around the corner. Maybe this mix reflects my current somewhat confused and unresolved state. Either way, I did my best to make it an entertaining journey through different moods and atmospheres somewhere between dancing and listening material.
B:It’s been a pleasure and sincere thanks for taking quite a large amount of your time to do this! Highly appreciated! Cheers and best of luck with whatever the future may hold for you and Well Rounded!
D: Thanks very much for asking. The interest means a lot and it’s really great to reveal more of the thinking behind what we do. Peace. :)
Thus being said, make sure you get your news feed from Donga, Well Rounded Records and its sister labels via Donga's SoundCloud, WR SoundCloud or on Facebook.
Also, their eleventh release on the mother-label comes from Skinnz and is now available for pre-order at Redeye Records and all the other good vinyl stores. Cop it!
Restartam seria de podcasturi dupa o pauza relativ lunga alaturi de un DJ / producer cu o personalitate puternica, cu un trecut interesant si al carui viitor arata din ce in ce mai bine.
Showcase House, Disco si Techno in jurul barierei de 120 bpm, influentat de clima calda, din partea lui Reash.
Stream via Mixcloud, link de download, articol / interviu in limba engleza se pot gasi la doar cateva scroll-uri mai jos.
Born and raised in Bucharest, currently a resident in Palma de Mallorca, Reash has been lurking around for quite some time now getting involved in pretty much any music-related activity there is, whether it’s producing, DJ-ing, hosting radio shows or throwing club parties in his home town.
We found his evolution as an artist in the past months quite interesting, so we asked him to state his current favourites through a podcast and sat down with him for a quick chat about the weather in Spain, a day at the beach, his debut EP that surfaced earlier in June and his plans for the future.
Tracklist:
01. Huxley - Shower Scene (Mic Newman Remix) [ANR002] 02. Jin Choi & Walker Barnard - I'm Just The Rain [PG002] 03. Lars Leonhard - Atropurpureum [CR008] 04. Mason feat. Aqualung - Little Angel (Kolombo Remix) [MOO012] 05. Youandewan - 1988 (Jimpster's Second Summer Of Love Remix) [LRISE0051D1] 06. Roman Rauch - Bio Rhythm (Erdbeerschintzel Remix) [PHP053] 07. Lonely C & Baby Prince - Your Mom's House [WLM14] 08. Heiko Laux & Teo Schulte - Sound Hug (Daniel Bortz Remix) [SUOL027] 09. Reash - We Know It's Right [CDR] 10. Toomy Disco - Since I Feel For You (Golden Bug Remix) [SSR044] 11. Girl Unit - Wut (Claude Vonstroke Butt Naked Mix) [NS008R] 12. Indie Jules - Tulip Fields Dub [CDR] 13. Reash - Total Control Of The Heart [CDR] 14. Helge Kuhl - The Rainbow Snake (Florian Meindl Remix) [PAINTWORK06]
BASICS:You’re a bearded guy with black and white glasses. Correct? Anything else you’d like to share about your identity as an artist?
Reash: I think a lot and tend to have a rum based diet when I go out. Therefore I’m a weird mixture of deep, rolling grawls and strong lurking concepts. I will change the glasses for some tiger brown-blue ones.
B: Since your relocation you’ve been on a creative spree. I’m curious, is it the weather? Or?
R: It certainly played an important role although I got a terrible flu as a result of the climate change. I guess lately I’m able to arrange the ideas I always had. And yes, free time is a must (...guess I’m lucky).
B:You’re a producer for how long? A quick walk through your software and hardware progression over the years?
R: Tough one... My notion of time is slightly bent. 10 years, I guess, if we count the first time I installed Impulse Tracker (mind-bending at that time, thanks to Mesmer). After that I bought ReBirth. A mutual friend of Roby’s (yes, the one from Livio & Roby) told me he was using it so I played around with it as well for at least a year. Then Reason came along and completely changed everything. I’m still using it since I found it to be the one for me... It offers the freedom and ease of a software DAW but has the hardware way of thinking, if you ask for it. At least that’s the way I use it. I did try out other VST based DAWs but I breathe through Reason.
B:You come from a solid Drum&Bass / Breakbeat background both as a producer and as a DJ. That’s quite far away from what you’re doing now in terms of genres. How did the transition occur?
R: Backwards. I found out that Breakbeat existed by accidentally landing at a party. I thought it was a 4/4 based line-up since my diet consisted of classic House at that time. As for Drum&Bass, I really don’t know why it got me hooked. It’s just that I found the Liquid part close to what I had in mind at that time.
B:What’s your production algorythm? Do you focus on a specific genre, tempo, rhythm or you just build a track and it is what it is?
R: Last option. It starts with an empty rack, drums, melody and so on... I did want to save some patches at some point but I’m glad I forgot to.
B:Your debut EP - Unfuse got a release in June on Room Music (n.r. Room Music on Juno Download). The interesting fact about it is that every single one of the four tracks has a different vibe to it, but without compromising the integrity of the release. You have All At Once – kind of a deep aquatic House experiment, the Tech-House dancefloor tool - Here There Everywhere, Left Side on a Dub-Techno-ish tip and What If, ending the list as a laidback Tech / Deep House hybrid. Practically whatever you’re playing as a DJ in the 120-130 bpm range, you could squeeze something off this EP and get it in your set. Was this your original intention – putting out a first release as diverse as possible? Was it the label’s call? Can we get an inside view?
R: It was supposed to be a 2-track single but the label and the guys around it belived in all of them. It might have been the diversity that won them. At the time I wrote the tracks I did not have in mind an EP but when the label contacted me I was sure this was the form I wanted for it. The name itself is a statement and a hint for what I’ve been up to.
B:You seem to love playing around with vocal samples. I’ve seen it in many of your tracks and it’s a characteristic of Unfuse as well. The thing is, they always sound a bit different than what you usually hear in most tracks out there and there’s a catch about placing them in your tunes as well. They’re never exactly where you’d expect them to be. A word on the procedure? And while we’re at it, what’s your sampling philosophy?
R: The vocals are present as part of the story behind the tunes, which in most of the cases, you have to listen to in full-length (no fast-forwarding). I don’t ever think them through, just add them wherever I feel the need. Since I loop a lot of the sections I’m never sure I picked the right moment. As for sampling I don’t use it directly (I browse through sample banks, so i can’t be sure). If I don’t achieve what I want through synthesis I start from a preset or a sample and morph it, add as many effects needed or do what they call sample synthesis (the old-school way...load it into the sampler, route that into a synthesiser and so on). But I’m against butchering others work.
B:Your tunes have a powerful personal touch and you seem to put a lot of soul in each and every one of them, but is it the same when it comes to DJ sets? How hard is it for you to showcase such a personal sound and entertain the crowd at the same time? Flexible selection or no compromise?
R: It's tough. Every tune of mine starts with a strong emotion, a deep thought I have. It’s part of what shapes my personality as an artist / song writter. As a DJ it’s slightly the same. I never think about the playlist, I always carry most of the music I own with me, since the crowd feeds me the mood I’ll have during a good part of the set. Fitting in something I felt at some point with something I feel while mixing, it’s always surprising.
B:Frankly we haven’t heard you play out in a while. What does Reash spin nowadays and who are the producers he constantly plays tracks from, in his sets?
R:I started an irregular podcast (I know, it’s a weird concept) (n.r. Insatiable) so that serves as a showcase. I follow the same impulse as when producing, it’s the sensation you get at the end that I’m after. People like Indie Jules, Steve Mills, Diskjokke, Little Fritter, Forteba, Den Ishu, Jay Bliss, Cosmin TRG and many more that aren’t famous yet make it into the heavy rotation.
B:You have the beach practically in front of your house, but we all know a day of sunbathing is nothing without a proper soundtrack. Care to recommend something?
R:Youandewan – 1988 (Jimpster’s Second Summer Of Love Remix) as you walk away and one of my latest called Total Control Of The Heart, once you can feel the sand.
B: A couple of words about the mixtape you just put together for us?
R: It’s on the fly and...take your time with it, let it play along.
B:Last but not least. Any confirmed gigs or forthcoming releases you’d like to give us a heads-up about? Plans for the rest of 2011?
R:So far it’s been a year filled with studio work (apart from some local gigs), a forthcoming EP (one single and 3 remixes) on FLY Recordings (Italy) and some remixes I must do (including Mesmer’s impressive Stereo Rainbow).
B:Nice one! Cheers and thanks both for the mixtape and the time!
R:The pleasure was all mine, I can still reash you everywhere.
You can check Reash's tracks out on Soundcloud, listen to more of his mixtapes on Mixcloud and download one of his tunes for free here via HDMusic. We'll leave you with the same tune fitted nicely over some footage from Scott Goodson, which we seem to love in a weird way.
