Interviews

Keeping it in the family; Diynamic Festival…

DJ Phono has no fear of failing, for if he shall fail it will be with utter jubilation. He has nothing to loose, but is willing to risk everything. This makes him uncomfortable and unpredictable for all those who dare nothing in life.

Even though being a member of the formation Deichkind has evolved DJ Phono into a different person, one should refrain from confusing the two. Neither does DJ Phono produce music for Deichkind, nor does their repertoire appear in his DJ sets. He is the brain behind the Deichkind liveshow and the whole overriding concept hidden within the techno lunacy. Right from the off he has continuously and tirelessly attempted to force a gap between proletarian and sophisticated culture. He is a hell-bender and merciless critic of the band luring them towards the end of the business.

The last few years have seen DJ Phono join Solomun’s Diynamic Music family where he has been releasing music, such as his unforgettable collaboration with Solomun himself on “Ice Cream & Bonus Miles”. It’s here that it seem DJ Phono has really found his place through his journey across different genres over the years and clearly a place that he finds himself fitting very neatly into. This is noticeable when he speaks about moments and events shared with the label and his involvement.

Now DJ Phono joins the entire Diymanic family for an event that will surely set a standard in the world of label showcases and festival, as all the artists join together for one full day of performances in Amsterdam.
In the run up to such an event we had the chance to speak to DJ Phono about Diynamic…

Tell us your musical influences growing up and how you got into DJing and Producing?
I started listening to rap music when I was about 14 years old and mainly interested in music from 1982-1988 – Ultramagnetic MC’s, Boogie Down Producions, Theb Ruff Stuff. I fell in love with the idea of hip hop and so I started to become an activist. I tried break-dancing, graffiti, rap and at last DJing. I stayed with that and trained scratching every day. I loved the idea of competing against each other and entered several DJ battles. In 1998 I became ITF European vice scratch champion at the age of 19.
Some years before that I think I was about 16, I also liked the idea of producing my own music and so I bought my first drum machines, that I heard on nearly every record I liked. Casio RZ-1 and Roland TR808. At the age of 20 I moved to Hamburg and came in touch with electronic music for the first time. French house was very popular and I knew some original songs that where sampled because they were the same ones that some hip hop artists had sampled before. This was the link that got me into electronic music more and more.

How would you describe your sound and style?
I don’t care if the track is new or 2 years old. Every track in my set is wisely chosen and should have a quality as if it is ageless. Not every track sounds the same but I really try to empathise into myself and try to express what I feel in that moment and think what could be a feeling I would like to share with my guests. I don’t like the sledgehammer method.

You are playing at the Diynamic Festival in Amsterdam this Saturday (18th May), how does it feel to be part of not only the festival line-up but also the Diynamic family?
First of all I have to say that I’m not self evident to have a family, and after years of being alone as a DJ in this scene I am really happy to be part of a family with so many warmhearted people who share lots of interests with me. Especially the love in music.

Is this your first time with the whole Diymanic family together for such an impressive showcase and why the choice of Amsterdam?
We had lots of Diynamic showcases all over the world and it’s always a lovely evening, but I can’t remember having every artist on a label night at once. I’ve never been to Amsterdam until now, but I know the others love Studio 80 and vote it as one of the top 5 clubs in the world. I think there is a special relationship between the people in Amsterdam and our idea of music. This is why we chose Amsterdam.

Your collaboration with Solomun on “Ice Cream & Bonus Miles” is probably one of your most recognisable tracks to date. Where did the inspirations come from for both the music and the title?
[Laughs] Traveling with the others is really funny, that bonus miles are a big topic to all of the other artists. They always talk about it. They ask me and I was the only one who had no idea how many miles I had and had never asked that before. So the title is a bit of a side blow of this lifestyle. It’s the ice-cream and bonus-mile lifestyle.

How do you find collaborations work for you and is there anyone in particular you would really like to collaborate with?
I would love to work with some singers for my next album. Of course there is no one better than Mark Hollis to me. Sadly it seems he will never make music again. I am a huge fan of his work.

What is your favourite record to play at the moment?
Mario Basanov – Gotham
What a hit!

Diynamic Festival
Arenapark, Amsterdam
18.05.2013
11:00 – 23:00

Diynamic Festival | DJ Phono |

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Love tingles…

Following in the foot-steps of techno luminaries such as Alan Fitzpatrick, Ben Sims and Drumcode boss Adam Beyer, Nicole Moudaber is set to release her debut long player on one of electronic music’s most revered labels. Scheduled for release on 06 May the confidently titled “Believe” sees Nicole at the top of her game, and is set to reaffirm her status as the ‘Queen of the Underground’.

In the same vein as her recently launched Mood imprint, “Believe” is suited to a number of atmospheres and settings. Across the nine original productions which comprise the album, Nicole has crafted a sonically diverse long-player of sounds which draw on the plethora of styles electronic music has to offer. From her accustomed techno to twisted house and everything in-between, the stylistic variety on offer means “Believe” will easily feature in more intimate settings and big-room venues alike.

The album comprises a host of tracks aimed squarely at the clubs. From the moody “Movin On”, the bass-heavy “Do Your Thing”, to the industrial techno grooves on “Come And Lay” which features a distorted vocal from Nicole, to the hypnotic chanting vocal on “Get On It”, techno-aficionados will not be disappointed with what is a sublime set of cuts that will no doubt destroy any dance-floor.

In contrast however, there are more intimate moments to be found. For example the rhythmically entrancing yet uplifting “Fly With You”, which has a very important significance for Nicole, to “Liberum Spirita” with its mazy ethereal breakdown, and the synth-heavy percussive builder “Lumière Tamisée”. Nicole further flexes her production muscle with the stripped back dub-flavours of “Big Love With No Apology”, and a robotic groove-laden funk on the standout “Can I Get Some”.

“Believe” delivers a consummate body of work with which Nicole’s considerable abilities in the studio are clear for all to hear. A wide-range of sounds that is sure to appeal to the idiosyncratic tastes of the various sub-sections of electronic music community. Furthermore, it lives up to the high-standards of previous Drumcode long-players and is an engrossing and impressive debut; and one which offers a smooth segue into the next chapter of an already exciting career.

2013 is really kicking off nicely for Nicole and in light her her debut album, we caught a few words with Nicole regarding her album.

Some people say that 13 is unlucky, yet many cultures embraces it as lucky. 2013 seems to be setting off in the right way for you with the release of your album and launch of your very own Mood imprint. Are you someone who embraces 13 and has it been your intention for these things to all come together in 2013?
I am very much into numbers and I always have been since my early scientific and math years. In fact, out of habit I tend to always calculate numbers, whenever I’m subjected to them.
I particularly like 1, 3, 8 & 9. 1 for me is the beginning & light, 3 is indivisible, 8 is infinity, and with 9 it’s divisors are 1 & 3 and it’s also in my birth date on the 19. 1+9 = 10, which is 1 if you add 1+0. 2013 is a strong year for me if I go about the numbers, 2+0+1+3 = 6, divide 6 in 2 = 3, 3 is indivisible and 1 is the beginning. In response to 13 – I think it’s a great number and it was my intention, probably unconsciously.

Drumcode is an extremely renowned label, yet for someone of your statue, was there the difficult decision of deciding whether to release your album on Drumcode or on your own imprint?
Adam approached me to do the album before my label was set up. I’m very excited about “Believe”. I had the freedom to express my feelings and the music I love so releasing it on Drumcode is amazing.

Some people create an album to demonstrate are more eclectic side to their production skills and tastes. Others seem to just focus on the dance-floor. “Believe” clearly opens with a focus on the dance-floor, but offers some well welcomed variations. What do you feel should be the reason for an album and what has been your reason for “Believe”?
Each album has to have the artist’s personality. I thought of going against what I’m known for and do a more home-listening kind of album, but I decided it wouldn’t be wise to do so in the end.
I think it’s easier for an established artist to get away with it, not to say that it’s not on my to do list because I love ambient and experimental music.
I wanted to have a strong list of club tracks which were playable at anytime, whether it’s an early set or after hours, ranging in style from techno and everything in-between. I play different tracks depending on my set time, whether it’s a 300 capacity club or 30,000 festival venue. Everything on “Believe” was produced with love and so much care [she smiles].

Are there any tracks from your album that you found particularly challenging for any reason?
Certainly, but more emotional than challenging. For example, “Fly With You” had all of me when it was in the making. I was in love with someone and it means a lot to me when the chords drop in that track – I fly everytime. It’s a sound I haven’t dabbled with before but it turns out I have a knack for chords and it has opened a lot of creativity in me and inspiration. I guess ‘love’ tingles.

Three of our favourite tracks are “Do Your Thing”, “Get On It” and “Can I Get Some” (because of the actual music, not necessarily the titles). Is there any particular reason for the choice of these titles or are we just reading a little too much into it?
You are reading into it correctly. They all mean something, I always give titles to my tracks which express my state of mind at that specific period in time.

If there is one person in the world, famous or not, at the moment that you would love to appeal to with this album who would it be?
There isn’t one specific person. I want the world.

Release Date: 06 May 2013

Nicole Moudaber | Drumcode |

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Ultra-melodic underground music…

A project born from the different styles of two young venetian artists; Nicola Sansoni aka Randomatique and Kaled Jabari aka Kaledj. Big friends since they were 10 years old, they got involved in electronic music when they were 15 years old.
Influenced at first by artists such as Ian Pooley, DJ Deep, Chicken Lips, Frankie Knuckles and then by names like Ripperton, Trentemoller, Martin Buttrich and Royksopp they developed a style that couldn’t be defined with any other term than ‘cosmic’. Edging between deep-house, dub and tech-house with their quintessential romantic touch, always able to create a special intensity in their music.

Their first EP “Rent A Starship” was released in December 2008 on the German label Ostwind Records, being reviewed also on in the Spanish DJ Mag as one of the best records of the year. 2009 and 2010 was the time for Nico and Kaled to make more steps with releases as the “Dusk EP” and “Piano Africano EP” were realsed on Kollektiv Turmstrasse‘s imprint Musik Gewinnt Freunde. Together with singles and remixes for labels like Traum Schallplatten, Katchuli, Plastic City, Time Has Changed and Suara, appearing also on the Cocoon compilation with their side project Reisak Corporation.

After reaching the international fame with all these highly acclaimed releases, 2011 saw the launch of their own imprint Back And Forth, which soon became one of the highlights of the Italian and European scene involving names such as Huxley, Tigerskin, Elef and more. In the same year their personal discography grew with remixes for Minilogue, Kollektiv Turmstrasse, Italoboyz, DJ Le Roi, Moodymanc, as well as collaborations with youANDme, Echonomist, and Mr. Statik on labels like Rotary Cocktail, Superfiction and Akbal.

Beside their productions, their popularity as DJs and live performers grew thanks to their own party ‘Origami’ and the festival they organize in Croatia called Somewhere In The Woods, not to mention their performances in many clubs and festivals in Italy and all across Europe. The groovy and warm sound behind the turntables, their breathtaking harmonies and live performances are definitely a demonstration of their skills.

With so much having happened for them over the last few years, they are clearly climbing their way through the scene and have so much more to come, such as performing at Italy’s newly unique Vertigo Festival. With their album due for release quite soon, we caught a few words with the pair.

Tell us little bit about your musical influences growing and how you got into DJing?
Everything started out kinda naturally we’d say. We always loved music in general and club music too since we were really young but in the early years we were more influenced by IDM and chill-out music. Of course with time we developed our musical tastes discovering also a more house and techno perspective which melted with our previous musical background generating this sound that we could simply define as ‘cosmic’, always edging between deep, techno and dub with a quintessential attitude for strong grooves and percussion but never forgetting the romantic touch which has made our sound so unique.

What do you aim to achieve through your music, both DJing and producing?
Our main aim has always been to give something unforgettable to our crowd, that’s why both producing and DJing we always spent a lot of time researching timeless melodies that are able to create a particular idea or bring a special moment for the listeners. We strongly believe the melody is the only thing that gives a real personality to a track and identify the artist that created it. We also feel its the best way to express our feelings and that’s why our motto is “We make music with the heart”, the heart is also the logo of our label Back And Forth.
Sometimes people say that our arrangements are too difficult for the club music standards and that we should focus only on making dancefloor tracks to hit the market while some others, as our friends youANDme, say that we create a new genre called ‘ultra-melodic underground music’. We leave the judgement to others as for us its really not important to be the pioneer of a style or to be the wrong producers in the right moment. We just want to be what we are and do what we like, that’s the only target we try to achieve everyday when we get in the studio or when we perform in the clubs or at events all over Europe.

You have an album coming out soon, can you tell us a bit about that?
We started this project in July 2011 as a collection of tracks completely out of the production attitude we adopted during the previous years. It wasn’t meant to become an album but somehow over time and after several releases the time comes in an artists life to sit down and deeply understand how to show to the world his own evolution, musical and personal, and the target he wants to achieve in his musical carrier for the future. This is exactly what happened to us during 2011 as we had time to get more into this idea and it finally developed into our first album, “Zero Gravity Love”.
The main aim behind the tracks that we finalised for this project, as the title suggests, was to exit the typical club music attitude and focus ourselves on a more pop dimension, really musical and emotional but not forgetting a solid dancefloor touch that even if hidden behind complex arrangements is always present in most of the tracks. That’s why we tried to combine the bright and direct intensity of the melodies we create to sensual vocals provided by some really talented artists that we had the chance to meet during these years around Europe. This strong melodic touch was anyway not only focused in giving to the listener the ‘love feeling’ but also a sense of ‘floating’ really connected to the idea of space that also our artist name evokes. We still can’t give you too much information at the moment but we are confident that the result is worth the wait.

You have recently been confirmed to play at Vertigo Festival for Select*Elect. How did that opportunity come about?
We got the chance to know Select*Elect through the result of their amazing parties around Europe at first via internet and then also as our friend, Echonomist started to regularly play for them during 2012. When we finally had the chance to meet in person it was kinda love at first sight, and speaking about possible collaborations among us came the opportunity of taking part in this great festival which is going to take place near Turin. It’s such a strong line-up and an even nicer location. We’re really looking forward to playing there, you can bet on it.

Being from Italy, how do you feel the festival compares to other festivals in Italy?
We can absolutely say that to have an event with the potential as Vertigo in Italy is definitely fantastic. For sure kind of a premiere on the national scene. We’ve always been used to see festivals in Italy’s main cities and generally in industrial areas, and mostly with the same headliners each time but the idea of setting up a festival in the mountains really impressed us from the beginning. The line-up is absolutely stronger than any other and features the real hot names on the market beside some very talented new acts and of course some well know key players creating a perfect combination of acts we can’t wait to hear. We reckon Vertigo will be the highlight of Italy’s summer season of electronic music and being part of all this is definitely an honor for us.

Cosmic Cowboys’ Networks
Cosmic Cowboys | Soundcloud | Back and Forth |

Always on the edge of future music…

Words: Nathan Ruddle

Taunton, Somerset in 1978, the man behind labels such as Simple Records and Aus Music entered into this world set to become a globally recognised name. Will Saul has been lighting up the decks for years now, as well as an impressive production background. He owns a string of record labels and has remixed for many big artists from around the house scene.

His sound is based in deep dubdiscohousetechno with flashes of soul and irresistible melodies that hark back to the early days of Detroit, from Motown to Planet E. Over the years Will has gained an admirable reputation as not only a show-stealing DJ, but also a talented A&R and producer. He’s remixed for Little Dragon, Fink, Solomun, Scuba, Pearson Sound, Cortney Tidwell, Appleblim, and The Juan Maclean, to name just a few. Will was resident at the legendary The End club in London for many years before it closed it’s doors and mixed and compiled the 15th edition of the renowned Balance CD series. The press response was superb with Will featuring on the cover of DJ magazine and receiving compilation of the month in DJ/IDJ and Mixmag whilst making the top 20 compilations of 2010 on Resident Advisor.

Will’s first foray into developing his own label came in the form of Simple Records. The musical focus of Simple has remained true for over 10 years, futuristic music for the deeper end of the dance floor with a strong emphasis on melodies that tug at your heart strings. Will has commissioned remixes from Carl Craig, Actress, Michael Mayer, Steve Bug, MCDE, Seth Troxler, Chateau Flight, Gui Boratto, John Tejada, Cosmin TRG, Recloose, dOP, Prosumer, Dixon, Steffi, I:Cube and many, many more of underground house and techno’s most respected producers. The label celebrated it’s 50th 12″ single release in 2011 which saw Will and his long term production partner Tam Cooper team up for a limited edition vinyl double pack EP.

As musical landscapes shift Will’s other label of love, Aus Music, has recently come into its prime and was voted in XLR8R magazine’s top 10 labels of 2012. Aus has consistently explored more cutting edge leftfield sounds and over the years has developed into a home for a range of unique artists, from the live dub of Sideshow, through to the bass driven house & techno of Joy Orbison, Scuba, Pearson Sound & Appleblim via the richly textured grooves of Lee Jones & his MyMy project, and not forgetting Cottam and his low- slung, hypnotic house.

This year Will Saul plays at FACE along with many other great artists that have played including Heidi and the French trio of Apollonian. Their latest and greatest idea is to host a series of all-nighter parties at their beloved home, extending the Rainbow‘s Courtyard in to the street or housing more of their Warehouse Raves next door. Guest DJ’s will indeed be playing sets all night long. Will Saul joins the FACE line-up on 29 March at the along with Maya Jane Coles, Cassy, Bicep and Midland.

Tell us about your musical background and how it has influenced your current style of music?
Well I grew up in the middle of the country at a time when internet wasn’t really invented, god I am that old, or at least certainly wasn’t accessible so was forced to hunt for my music. That was either via my local record stop or via the top 40. I had a very broad grounding in many musical instruments from 7 years worth of piano lessons and 4 years of Sax lessons right through to the double bass via a 6 month stint on timpani. I guess all that has possibly made me open minded and always hungry for new music.

You’ve been collaborating with Tam Cooper, who was part of the Breakbeat trio Precision Cuts, what inspires you to make music with him and how has that collaboration influenced your music?
I’ve been making music with Tam for 10 years now – he’s my right hand man in the studio and Precision Cuts used to release on Simple many many years ago. He’s an amazing producer and engineer.

FACE is back with a bang this year and you’re on the line-­up for Friday 29 March; tell us why this year will be even bigger than before?
I’ve never played at FACE before so in all honesty I have no idea! I’ve been aware of the night for a while though and reached out to the guys last year. They expressed an interest in doing something then so I’m really glad its finally worked out. I’m very much looking forward to playing!

They’ve had artists such as Heidi, Richy Ahmed, Russ Yallop, Rebel, the Apollonia guys and then of course joining you on the night will be Maya Jane Coles, Cassy and Bicep. But tell us who you are most looking forward to hearing and why?
Bicep and Midland will be playing in the Aus room and these are two of my core acts on Aus. I always love DJing alongside them as they are super talented, plus we’re all friends so much fun will be had. So in answer to your question I’m most looking forward to seeing and hearing these guys.

Are will likely to expect anything different or any variations in your set on the night?
I never really know what I’m going to play until the show starts, but I always have lots of new stuff to test out and forthcoming material on Simple and Aus that gives my sets something that no one else has.

Have you got anything else planned for the near future, any new LP’s in progress?
My next artist album, under my alias Close, has been signed to !K7 and will be released in June.

What’s your preferred format of music when behind the decks?
CDs but I’m just about to switch to USB keys. There’s the least possible chance of problems with CD players so I opt for this format.

Between DJing and running your own record labels, what’s your favourite aspect of the music industry?
I would say making music is my favourite aspect.

Do you have a favourite club that you prefer DJing at?
Panoramabar, Fabric, D’Edge in Sao Paolo and Eleven in Tokyo are my favorites.

If you were not DJing and had the chance to catch another DJ’s set, who would it be and why?
I have never heard Ben UFO DJ and I really enjoyed his Fabric mix so I’d like to check him out.

Have you been listening to any new DJs or producers recently that you like the sound of?
Leon Vynehall and YouandEwan are my two tips for the top this year.

Don’t miss Will and his Aus Music at FACE, Rainbow Warehouse in Birmingham on Friday 29 March.

A stomping EP that wasn’t to be released…

Words: Mike Taylor

iDiOSYNC boss Josh Butler is a fast rising artist in the UK, pioneering a sound similar to that of friends and colleagues Hector Couto and Darius Syrossian. Having taken Leeds and the north by storm their eyes are now set on the rest of the country. Their sound is infectious and energetic, typical of weighty, full-bodied bass leads, exquisitely processed vocals and playful breakdowns.

You are part of the new breed of talent that is storming the UK at the moment, how does playing in hometown Leeds compare to the rest of the country?
Well as lots of people probably know Leeds is a crazy city and the music scene is unbelievable. It’s always a pleasure to play local gigs, everyone’s always up for a hell of a party and very clued up on their music! For anyone interested my next gig in Leeds will be the 02 May at Teknicolour, Mint Club with Darius Syrossian and Hector Couto.

How was your experience working alongside like-minded greats such as Darius and Hector?
What can I say, these guys are heroes and I’m so glad to have worked with them already. When producing “Bass Play” with Darius I sent him the groove and bassline of the track and he came back with that unforgettable quirky breakdown and his killer trademark vocals. Hopefully there will be more collaborations coming with us all soon.

Josh has already stamped his mark in 2013 with the resounding success of “Got A Feeling” on MTA records in January. Having also released on notable labels such as Pura and OFF Recordings, today we bring you his forthcoming two track EP “Can See You” on Definition Music. It is an EP that has only come to part by chance, with no intention of ever being released.

When you uploaded these tracks you said you never planned to release them, why? How long have you been sitting on these gems for?
I made “Can See You” about 8 months ago or something, no plans for release, it was purely for fun and playing around with ideas. Then Darius started to play it out in his sets and when he dropped it at Watergate the label owner of Definition Music heard it and loved it. I then went on to make “For Who You Are” to complete the EP.

The title track “Can See You” is a peak time bomb and although not overly complex in its production it’s a stand out track that is going to have people rushing to the DJ booth. At the heart of it is a seismic, throbbing kick drum fused amongst a relentless bass line providing real movement. Together, the combination of sounds causes you to feel its energy and is the result of masterful precision on its ADSR envelope. As the track develops we are gifted with a striking selection of industrial fills and tampered vocal stabs, until the breakdown, where dampened chords calm the mood before the track brutally cuts back in. This is a track sure to provoke an amazing response in a clubbing environment and will challenge even the most stubborn of dancers to get moving.

“For Who You Are” follows the same aesthetic as “Can See You” but with a deeper twist. The kick drum and scaling bass line being equally as prominent but with more warmth. Through the middle echoes a blanketed vocal that rides throughout the mix, again adding to its deeper qualities. A perfect warm up track prior to those peak time stompers such as “Can See You”.

Both tracks have an ascetically similar soundscape, was this the intention? Were they just sounds you enjoyed using at that moment in time?
Yer it was intentional to keep the styles similar as it is with all my productions. But I still made sure there was a distinct A side and B side. “Who You Are” is a deeper, more warm up vibes track where as “Can See You” is a heavy peak timer.

Josh Butler is a name to keep your eye on. He is certainly on my watch list and with such a great start to the year already I will be eagerly awaiting all his releases, keen to see what other creative wonders he has concocted in his musical lab.

What can we expect for summer from you this year? What festivals are in the pipeline? Any trips to Ibiza?
Summer is already shaping up nicely. For festivals I’ll be playing at The Secret Garden Party, Park Life and possibly Gottswood. No plans for Ibiza just yet but will see how things go over the next couple of months. I will also be heading to Morocco with the night I’m resident for LDMS and much more UK touring.

Release Date: 25 March 2013

Definition Music | Josh Butler |

Corbeau’s true House recipe…

Interview: Stephen Reynolds

Aligning with the theme of 90′s inspired house music we bring you two budding Sheffield producers Luciano Giaimo and Adam Smith who are making headway under the umbrella of Corbeau. A duo that is too irresistible to shy away from, with their wide range of influences, mainly from 90′s House, Garage and Deep House elements, all being infused into their music and their DJ sets. They seem to be truly harnessing the right ingredients for some real house vibes, mixing it up with the full deep flavours of modern day sounds, a few tablespoons of swinging house and garage groove and slight sprinkling of funkiness. This is the recipe for a good serving of Corbeau. A dish that is becoming a staple diet in the Sheffield house scene.

So how did Corbeau come about?
Well we had been DJing together on and off for a couple of years before we became Corbeau but it took a few shandies and a heart-to-heart after a gig at Global Gathering to make us finally take the plunge and begin working together officially! A couple of months later we got our acts together and started making tunes under our new name.

Over the last couple of weeks we have seen new additions to your expanding collection including “Street Walker” and “Visions” released on AOI Records, what else have you got coming up in the pipeline?
Yeah we have a few releases in the pipeline over the next couple of months actually. Firstly the three track “Red City EP” being released on Cyprus based label Fly In A Jam Records, out at the end of February. Then we have the “Street Walker EP” coming out in March on Sheffield’s All Over It Records. This features the title track and as well as “Visions”, we are really buzzing about this one as AOI have lined up some exciting remixes for it. March will also see a track we signed to Love Not Money Records a while back featuring on their latest VA Compilation.

We have really enjoyed the changing sounds in your releases, has it been difficult to maintain that individuality to each record?
We don’t make tracks and think “let’s make something completely different to the last one”, but if we think something sounds too similar or unoriginal we won’t put our name to it. We maintain our individuality by taking inspiration from various different genres. There is a lot of music out there so it is important to be different.

Originally captivated by a couple of their younger tracks “Stand Up” and “My Love”; “Stand Up” forthcoming on Fly In A Jam Records is one of their more garage influenced tracks. A warm hum of analogue bass tones supported by a wealth of offbeat shoulder jerking claps and hi hats that instantly thrust your hips into dancing action. A clean, bouncing, melodic hook takes lead giving the track its addictive qualities, it later transcends into soft chord stabs for the breakdown and rides nicely back into the mix adding it to the list of vinyl’s to purchase.

“My Love” also forthcoming on Fly In A Jam Records takes a darker approach with a solid stabbing bassline and futuristic dubby overcoats whilst the eerie spoken word vocal lulls the listener into a hypnotic groove. Layered on top are perfectly placed, dampened synth chords and an upbeat hi hat thickening the overall sound as well as adding to the dark, deep timbre you’d expect from real Deep House.

So where does the inspiration for these tracks come from?
We both grew up listening to UK Garage so a lot of our music is influenced by that, as well as the Old Skool 90′s House stuff. The thing is there are so many other types of music that we draw inspiration from it would be unfair to say “this particular sound or artist is the one”.

And which producers are pushing the right buttons for you at the moment?
At the minute we are really digging the stuff that Waze & Odyssey are putting out there plus people like Anil Aras and New Jack City. Squarehead is killing it at the moment as well.

Finally what can we expect from you guys in the exciting run up to summer?
We will be working on more original tracks as well as a load of exciting remixes so keep an eye out for these, plus we hope to announce some gigs a little bit further afield so keep an eye on our Soundcloud page for more info.

Once again we see the revival and resurgence of old-school sounds with new school production values. Considering they have only just emerged their music sounds incredibly professional; the mix downs and mastering are top notch and the content is original and highly addictive.

Dates:
23 Feb @ AOI Underground Heroes, Sheffield, UK
02 Mar @ MiS Warehouse Party, Sheffield, UK
30 Mar @ Secret Soiree, Sheffield, UK

Corbeau |

Bedrock & Cream resident…

If he’s not on the tip of everyone’s tongue, then he certainly will be. Jemmy has been carving himself a place in the music scene among some of the most influential names in the industry. He secured himself a Cream residency and what started out as him producing music for his own sets, ending up with his music falling into the hands of various DJs. This lead to his music being signed by industry giants such as Renaissance, Global Underground and of most recent, John Digweed’s Bedrock with “Quarry Bank”. Based on a combination of hard work, musical integrity, and powerful creative vision, Jemmy is making a big impact on the world of electronic music right now.

Jemmy has a rich knowledge and love for music from right across the spectrum and his own unique sound appeals to fans of lots of different genres. This much is clear from the wide range of people supporting his releases, including the likes of John Digweed, Yousef and Danny Tenaglia. And when it comes to gigs in club and at festivals, Jemmy’s done some of the biggest, Cream, Ministry Of Sound, Amnesia, Sankey’s and Creamfields all on the list.

As if DJing and producing wasn’t enough, he also runs the well know record shop, 3B Records, which has been at the cutting edge of electronic music for quite some time now and remarkably still going strong and stay on the cutting edge of new electronic music. Jemmy is relied upon by DJs and dance music fanatics for his expert knowledge and advice, sending out new music packages/promos to people across the world.

With his supporting appearance warming up for John Digweed at the next Bedrock night at The Camp & Furnace in Liverpool, Guerilla Sounds caught up with Jemmy to discuss his career, music and the record shop.

Tell us a little bit about your musical background and your first memories of music?
My first memories of music are listening to old rave that my mum was banging out when I was really young. I started getting more seriously into it after hearing bands like Radiohead and stuff. And then when I was old enough to go out, my earliest clubbing memories are of Cream, which was a big game changer for me.

You’ve had your music signed to Bedrock Records, Global Underground, Highway Records & Renaissance. How did these all come about and would you say that as a producer, these will be the peak of your career or are there others that you hope to achieve?
Initially I was just making music for my DJ sets, but the tracks fell into the hands of some big name DJs that later got released on their labels or comps. The releases so far have done well, but I think with each track I’m learning new things, so they’re sounding better now. I also have a very broad taste in music so I’m constantly trying out new sounds. But yeah the Bedrock release certainly meant a lot to me.

You’ve been booked to play Bedrock in Liverpool, supporting John Digweed in the main room. How did this opportunity arise and how do you feel about the gig?
Well I’m a resident for them, but I’m really excited about this show. Warming up for John is always special but I think the whole lineup is great, very diverse. And Camp & Furnace is such a good venue.

Not only are you playing at Bedrock but you have also providing a mix for John Digweed’s renowned Transitions radio show. With two very important sets as these, is there any particular preparation you go through?
For the Transitions guest mix I wanted to put together a mix of the type of music that inspires me in the studio, some of the tracks are more for home listening than dancefloor relevant. So that was more of a studio mix. Whereas for my set at bedrock I’ll do quite a lot of preparation before hand in terms of little edits etc. But I’ll probably take around 6 hours worth of music on the night and just see where my set takes me.

You run your own record shop, 3b Records, what made you decide to do that and what’s the music focus there?
We bought the shop when the previous owners decided they wanted to focus all of their attention on the 3beat record label. The main focus is vinyl, CDs, merch and tickets. The online side of the business is starting to take off now, especially e-tickets. So that is taking up a lot of our time at the moment. But we’re also in the middle of starting up a new record label too.

Running your own record shop seems almost like having a huge collection of records you like on sale. Is 3b Records about selling mostly what you like or selling what others like?
Yeah more so now than ever really, we stock so much good music, right across the board, stuff that is only available on vinyl too. A lot of the big names still shop with us every week.

In an environment where there has been a huge transition from physical music to digital music, what’s been the effect on 3b Records and can a record shop adapt to this change?
Well ticket sales have been a huge help in the shop, they grow every year, CD sales seem to be dropping. On the other hand vinyl sales are increasing by the year, which is mad.

What’s your preferred format of music when behind the decks?
CDs and vinyl, sometimes I’ll use a USB stick too. The digital side of things is great for the edits I do.

As a DJ, where would you say your home is or your preferred club / night to play and why?
I love my residencies for Cream & Freeze, where ever in the world the gig may be you’re guaranteed a good night.

What do you have lined up in the near future?
I’m midway through a few projects in the studio at the moment and have a couple of remixes to finish too. Some great club gigs and festivals to look forward to in 2013 as well.

Between the DJing, producing and running a record shop, what’s the most enjoyable aspect of working in the music industry for you?
Just the music itself and the people you meet along the way. I have met some of my closest friends through music.

Don’t miss Jemmy supporting John Digweed in the main room at Camp & Furnace for Bedrock.

Jemmy’s Networks
Jemmy | Facebook | Beatport | Soundcloud | Youtube | Myspace | RA | Twitter | 3B Records |

New Zealand’s infectious groove…

Interviewer: MDT

New Zealand born, Dilby lives and breathes house music. From a young age Dilby has been obsessed with hunting and collecting music and has always been passionate about sharing these treasures with others. This is evident in his DJ sets which span genres and create an infectious groove on the dance floor.

Dilby was first introduced to underground electronic music through the rave scene of the 90′s. His excitement and passion for everything house grew until he began DJing in early 2001. Since then he has not looked back and continues to grow and evolve his sound and skills on the decks. Dilby has played the best clubs and festivals all over New Zealand including a sold out Rhythm and Vines festival with over 25,000 in attendance and has shared the stage with many of the world’s top DJ’s along his journey.

Dilby has taken his passion for house music to the studio and presented his creative and inspired productions to the world. His tunes champion a signature groove and attention to detail that sets them apart from the crowd. His music is crafted from a classic house and techno pallet but presented with a fresh, modern and individual aesthetic. They are full of rich musical influences; from dub to progressive rock, ambient and tribal rhythms, but rest assured, they’re aimed squarely at the dance floor.

Dilby works with some amazing record labels including Beef Records, Baroque Records, Soulman Music and many more. His original productions and remixes have been supported by top DJ’s ranging from legends like Danny Tenaglia to Nic Fanciulli to modern front-runners like Waifs & Strays and Karol XVII & MB Valence.

Since a child you collected music, what was the very first record you prized?
As a young kid I was really into the stuff my parents would listen too, which was pretty varied. Everything from Grace Jones to Pink Floyd to Peter Tosh. My first memories of being super into a specific record was Neil Young and Crazy Horse’s album “Rust Never Sleeps”. I remember running into the room whenever it was playing and singing along next to the speaker, “It’s better to burn out, than to fade away, my my, hey hey”.

Which was the first track you played as a novice?
I’m not too sure to be honest. I learned to mix records from my flatmate at the time who had a really cool collection of Naked Music stuff and West Coast house jams so probably something along those lines. The first house 12′s I bought myself were Steve Lawler’s “Rise In” (Bedrock) and Halo Varga’s “Future” (Hooj Tunes).

Which was the first party you had been to that made you realise you wanted to DJ?
There was a big outdoor NYE festival close to the city I grew up in called ‘The Gathering’ which ran from ’96 to ’02. I went to a lot of them and would get really into it during the events, although I was pretty staunchly into rap and hip hop at the time. At the 2001 Gathering I saw Way Out West play and it blew me away. That was really the point at which I decided I wanted to start DJing house music, although it had been building up for a while.

Are you more into making the music or would you rather DJ?
I love both to be honest. I started DJing long before I ever dreamed about writing my own tracks but now I guess they go hand in hand. I love the feeling when everything is working in the studio and it feels like the music is just writing itself but I don’t think it could ever beat the thrill of playing to a nice crowd on a big sound system.

Coming from New Zealand, how did your music bring you to Berlin?
I guess it is all just part of the natural progression of things. As time went by I put more and more into music and realised I couldn’t really do it full time in New Zealand. I knew people who had lived in Berlin and it seemed like the perfect environment and opportunity to immerse myself in music and to push things on.

Where has been your most memorable gig in Berlin?
Playing at Sisyphos was really cool. There is always an up-for-it crowd there, it’s slightly off the beaten path and not as famous as some of the other places which creates a really beautiful vibe there. not to mention, it was great to play at one of my favorite clubs in Berlin!

In your perspective what makes Berlin the worlds electronic music centre?
There are so many clubs, so many great DJ’s and producers and so many punters. The intensity of the music scene in Berlin draws people here and I guess in turn it is the people that create the intensity.

What is your mind set when you go into the studio to make music?
I try to keep a pretty open mind. I have a wide interest in music and I guess different things influence me at different times. I try to just vibe and see where it takes me. If I’m doing a remix I usually get an idea in my head of what direction I might take before I start, but that usually changes somewhere throughout the creative process.

According to you, which is the best track you have made?
Probably “I Went Back” featuring Lowqui, which came out last year on Beef Records. It has a deepness and emotion that I really value in music. It was also awesome working with Lowqui who is a total veteran of the Drum & Bass scene, not to mention a good mate. We have just started work on a follow up so watch this space.

When composing your music, how do you choose the elements to make your sound unique?
That’s a hard one. I think creating a unique sound is a combination of your workflow and techniques and finding original sound sources. Follow your heart, not the charts.

When working on collaborations, how is it done – do you just amalgamate your ideas, or does one make it and the other re-edit it?
It totally depends on who I’m collaborating with and the level they are at in terms of experience and technical know how. I have found that it is generally always a lot slower working with others though. I have a record coming out later this year on Escapism Musique that I wrote with a good friend of mine, Bastian. He hasn’t done a great deal of studio work but is an awesome DJ, super creative and has played drums and piano so had a lot of input to give but I do all of the engineering in that partnership. He also did some vocals on the record we did together which was awesome and brave. I’m also working on something at the moment with a buddy from Berlin, Carlo. We have similar levels of experience so we just kind of share the engineering and creative process. The hardest thing about collaborating is finishing things you start!

Having an eclectic taste in music, only broadens your own style, do you agree and why?
Oh for sure. I think it is really important to have a wide interest and knowledge of music in order to progress as a DJ or producer. Variety is the spice of life.

It is known that your music is made for the dance floor, what is the trick to keep us dancing?
Drums! You got to have good drums. Create a good groove and hook that grabs people and locks them in on the dance floor.

Your latest mix named Secret Recipes 001 – Burgers and fries is a banging set of tunes, but mostly it is intriguing that you have called it Burgers and Fries, why is that?
So Secret Recipes is the name of my new podcast series. The whole name is kind of a joke, because I hate to take myself too seriously. I am really into cooking and food and just decided that the naming theme would be a different food for each episode. There will be some guest mixes coming up too, so the guest DJ will choose their favorite food to name the podcast. Secret Recipes 002 – Spaghetti and Meatballs will be served up in February.

Today we are flooded with DJ’s and party people are rather spoiled with so much music, according to you, what makes you stand out and bring something fresh?
That’s a hard one. If anyone has an answer to this please email me! For me, I just try to make and write music that stays true to myself and that I am passionate about. I’m not super interested in riding the crest of the next big thing’s wave. I just do what I love.

Being supported by some big names like Danny Tenaglia or Nic Fanciulli is a big deal, tell us how did you first get noticed?
I think mostly that is down to working with some cool labels that do good promotion and work hard to get my music into the hands of the right people. Thanks to all the labels that peddle my music. I love you all!

Which is your favourite DJ and how has he/she inspired you?
There are so many amazing DJ’s and producers out there so it is kind of hard to pick one currently but the most important influence would have been my old flatmate who inspired me and got me into DJing house music, thanks Zac!

The most important thing about music is?
To listen to it and dance to it and enjoy it. Regularly and religiously!

If the world were to end, which 3 tracks in the whole world would you play?
Van Morrison – “Moondance” and Al Green – “Let’s Stay Together” because they are amazing songs I’d just have to hear one last time and then Leftfield – “Open Up” because it is the perfect soundtrack to the apocalypse.

Please tell us the one song or track that would define you?
Impossible! There are too many awesome tracks out there and I would hope that my answer would continually change as music continually evolves and, hopefully, so do I.

And lastly, what are your aspirations for 2013, where can we find you to shuffle our dancing feet?
Just to continue to work hard in the studio really. I have lots of exciting releases coming up including releases on Beef Records, Escapisim Musique, Form and Function, UM Records, Gartenhaus and lots more. I plan to be DJing more this year after taking it easy in 2012 to focus on studio work. I am working on dates for later in the year in Netherlands, UK and lots more but you can catch me playing around Berlin for now, check my Facebook page for dates and details.

Dilby’s Networks:
Dilby | Facebook | Soundcloud | Beatport | Mixcloud |