Motor City Drum Ensemble On 2013

2012 wasn’t really his year, to say the least. But with an Utrecht-based love nest together with his girl, a few less gigs, frequent visits to the swimming pool and an album on the way, we trust that 2013 will treat Motor City Drum Ensemble a lot better.

How was 2012 for you?


‘I had a hard year... In January I had a big burnout and I couldn’t do shows for almost 6 months. Before that I travelled 4 years straight every weekend and it was getting too much for me. I could sense that something wasn’t right already at the end of 2011, but I couldn’t really put my finger on it. I thought ‘I am young, I can do many shows’. But I reached my limit and when I noticed that, it was already too late. It was an experience I don’t wish on anybody. Because of the burnout I really had to reinvent myself and my whole approach on the job. Some people might be able to do 3 shows a weekend, but I now know I’m not. Everyone is different. But because I don’t do many shows, I’m naturally more excited about the shows that I do!’
 

Was there a specific gig in 2012 that was very memorable for you?


‘The first gig abroad after the burnout was at the SuncéBeat festival in Croatia. I stayed there for five days and had a super nice summer. The beach, the sea, nice people. When I had the burnout I was really doubting if my lifestyle was something that I wanted to continue doing. But when I was there it struck me in the heart as being so beautiful, that I was reassured that this is where I belong.’

Do you make new year’s resolutions?


‘Normally I don’t, but this year I really wanna stick to the swimming plan that I made. I’ve already started, but next year I wanna even increase it and go to the pool at least 3 or 4 times a week. Swim a kilometer a day, clear my head. Then I come back to the studio really refreshed. I also like the sounds at the swimming pool, the typical sounds of that big hall where you have all the little kids screaming. There’s always a funny atmosphere.
And also I want to finish my album. But I don’t want to rush it, because it needs to be super good. There’s a new single out in January, the Send a Prayer EP, with 4 new tracks that probably won’t end up on the album. These tracks are very danceable and good to play out, while the album is gonna be more of an at home thing. To be able to focus on the album I will do less remixes, but for example I did one for Bicep.’
 

I heard you don’t like getting older.

‘I had this discussion with Tom Trago in Paris a few weeks ago. We both agree that we want to turn younger again and not older. The magic 30 is coming very very fast.’



But what’s the problem? You get older you get wiser, right?

‘I had those crazy years when I would just travel and not think too much about stuff but just do it. And now getting wiser, I do things more consciously and I think way more about how I approach my music. Sometimes I wish I wouldn’t think about it so much again, but at the same time it’s good. It’s two sides of a medal. With my music I found that once I start thinking too much about it, it kind of loses the magic. I need to be impulsive with my music and at the same time I need to be very cautious when it come to my lifestyle. That’s the twist here.’


Article Sourced: http://www.trouwamsterdam.nl/en/blog/2012/12/swimming-laps/571/

An Interview With, Motor City Drum Ensemble (MCDE)

Germany’s Danilo Plessow has been recording exquisite, emotional music since he was 17, beginning with his electronic–meet-nu-soul project Inverse Cinematics and, for the past decade, as the housier and techier Motor City Drum Ensemble. Last year saw the release of a stunning MCDE entry in the !K7 label’s DJ-Kicks series.

You started producing at a very young age. How old are you now?

I’m turning 27.

So I guess we probably should stop referring to you as a “young phenom.”

Ha! I guess so. But I would still like to be called young; I don’t really like getting older.

I’ find that the name Motor City Drum Ensemble tends to confuse people who don’t know who you are, since you’re not from Detroit and you’re not an ensemble. What was the reasoning behind choosing that name?

I grew up on Detroit techno stuff in my hometown, Stuttgart, and a lot of the early parties I went to were called Motor City parties, with people who were into Detroit people like Robert Hood, that first-wave stuff. I’m also inspired by the kind of jazz and soul that was coming out of Detroit, and Motown—stuff like Stevie Wonder, Marvin Gaye. Also Mercedes-Benz and Porsche are in Stuttgart, so a lot of people work in the motor industry there—like, in local hip-hip, Stuttgart was always called Motor City. So there are kind of two reasons for the Motor City part.

And the Drum Ensemble part?

That’s because I’ve always been collecting all these drum machines. They’re the ensemble.

You just alluded to this, but a lot of your work seems to have a very strong sense of musical history. Inverse Cinematics has a lot of soul and jazz influences, and your Raw Cuts series, for instance, seems to reference somewhat obscure early house from Chicago and New York, like Raw Elements on the Final Cut label and NY Housin’ Authority on Nu Groove. Is that something that you consciously try to inject into your music?

It’s all been a sort of natural progression. I was playing jazz as a drummer before I even knew about electronic music. From there, I realized how a lot of hip-hop is based on jazz grooves and samples, and so I started digging for those records, and then it sort of went from there. The music that touched me the most was stuff like jazz, soul, funk, whatever—and that was very evident in Inverse Cinematics, which had lots of broken rhythms, straight-up jazz beats. And then, the kind of house and techno that touched me was the kind that had jazzy elements. Not that there has to be a saxophone or anything—Kenny Larkin or even Basic Channel can have some kind of jazz twist to it.

It seemed like you included pretty much all of your influences on last year’s DJ-Kicks mix, which featured everything from Sun Ra and Tony Allen to Hood and Fred P. Was that a difficult mix to put together?

Yes, definitely. But the absolute toughest part was the licensing, even with the very obscure stuff. The last song on the mix, the James Mason song—he didn’t even know who had the rights to his own song! So that was quite a process. Once it was clear which tracks I was going to be able to use, it was pretty…not easy, but at least I knew what direction it was going to go.

How about the actual construction of the mix? There are 22 very disparate tracks, yet you managed to make a pretty coherent, smooth set out of them.

It was a pretty intense process. It was the first time I had ever used Ableton to do a mix, so I had to learn a new program from scratch while I was doing it. It was definitely a task.

How long was it from the time you knew you were going to be doing the mix to when you actually had it done?

Something like six months, I think. It’s not like I was working on it nonstop—I’d generally be touring about two days a week—but it was long. I heard Scuba did his DJ-Kicks mix in two weeks. I admire that. [Laughs]

The mix probably wasn’t what some people expected, but the reaction was extremely favorable—it was No. 9 on Resident Advisor’s Top Compilations of 2011 list, for instance. Did that surprise you at all?

I wouldn’t say it surprised me—but I was definitely very happy about it! The mix itself is not really the easiest listen, I would say, but if I play it to friends who are not really into music at all, they seem to like it. And, for me, that’s quite something. I definitely don’t want to be considered this intellectual guy, making music only for intellectual people.

You didn’t run into anyone who was upset that you didn’t make a straight-up house mix?

Not really. Maybe my dad did. He’s retired, and he kind of keeps track of reviews and stuff. He’s now proud of his son, and I have to say that wasn’t always the case! He’s always googling me—I’m like, Dad, give it a rest. Anyway, the overwhelming amount of feedback has been positive, but of course you can’t please everyone. People in electronic music can have a very narrow perception of things, but the message-board people who overanalyze every single sound aren’t the people I did the mix for. It’s more for the people who are willing to broaden their horizons.

I missed you the last time you played in New York, three years ago.…

It was amazing. You missed a good one!

When you play out, do you play mostly house-oriented material, or do you mix it up?

It depends on the night and on the crowd, but I usually try to avoid playing just house, or just a straight beat all night long. I do like to play disco, especially when it’s a venue where you wouldn’t expect it, like a big warehouse or something. It’s always good to break rules, you know? It seems like you have the liberty to do that a bit more in the States than in Europe. Berlin is starting to loosen up a bit, but just a few years ago it would have been hard for me to play much disco there, or even just happy music.

I think people will be ready for you to play just about anything when you come here.

Well, New York has such a rich musical history. You people have it in your DNA.

Originally Posted: http://newyork.timeout.com/music-nightlife/nightlife/2486455/after-dark-inquiry-motor-city-drum-ensemble

MCDE: 'There's no electronic music happening in America'

Motor City Drum Ensemble: Motoring On

Motor City Drum Ensemble is on the move, en masse. In other words Cologne-based DJ and increasingly rated producer Danilo Plessow is popping out for a little afternoon record shopping; with a friend.

It’s refreshing to hear that one of clubland’s oldest traditions is still alive and well in these ever-changing digital times. One wonders just how many dusty, treasure trove record stores are actually left today. “Sales are really strong in Cologne right now,” Plessow opens. “Kompakt [globally renowned store and, in turn, label and distributor] is booming; they’re hiring another seller. When I’m travelling I’m seeing this elsewhere too. There are some countries where the economics don’t add up and for which MP3s are the perfect format, but elsewhere vinyl really is alive and well. The stores are somewhere you can hold the music, share knowledge and learn. I don’t think vinyl will ever die.”

It’s hard to see how Motor City Drum Ensemble’s reputation will either. Plessow, 26, started producing, incredibly, some 15 years ago. By the age of 16 he had released his first record and a year or so later cult broken beat house cut Slow Swing as alter-ego Inverse Cinematics (alongside Joachim Tobias). That tune earned the attentions of one Ricardo Villalobos and catalysed a string of Inverse EPs picked up by major leftfielders including Gilles Peterson and Benji B.

Motor City Drum Ensemble materialised relatively recently, in 2008, after a move to Stuggart and various solo nu-jazz and hip-hop-edged projects. Plessow’s Raw Cuts EPs, recorded under the new alias, combined old school Chicago and Detroit with innovative, deep ‘n’ dirty grooves to huge underground acclaim. His growing status prompted an invitation from Resident Advisor to record a deep house podcast and the rest was history. Kind of….

Plessow is still, he says, getting to grips with all the Ensemble hype. “Resident Advisor kicked off this whole stage of my career. I’m so thankful, it’s led to some hectic but totally inspirational experiences. But, I’m realistic. I am still learning. I am touring every weekend and have done for as long as I can remember, and with each show comes a different crowd and different challenge. I’m constantly learning how to improve my DJ skills, my reading of the dancefloor, my use of these nights back in the studio when I’m looking for ideas….”

It’s fair to say that Motor City Drum Ensemble’s tasteful exploits on the road have taken over the production side of things. Plessow is hoping that his new mix compilation for DJ Kicks will prove a handy segue back to the studio; something evidently he has been missing.

“I’m pleased with the end product but it’s taken some time to put together” he admits. “I didn’t want this to be another DJ mix; what I love about DJ Kicks is that they allow artists to showcase the music that moves them. So I sat down at the beginning and looked to create a mix that moves through lots of different genres – Detroit, Chicago, afro-beat, spiritual, jazz, soul…. As you can imagine the licensing took a long time but we got there and I think it sums me up pretty well. I hope people like it.”

Plessow’s mix is, in a word, kaleidoscopic. It moves smoothly, yet powerfully between cuts from legendary cosmic jazzsters Sun-Ra and afro-drum kingpin Tony Allen to the classic, soulful 4-4 strains of Larry ‘Mr Fingers’ Heard and Rick ‘Poppa’ Howard and deeper electronic moments by Robert Hood and Aphex Twin. Kaleidoscopic, epic even….

Can we expect a similar methodology when our man sits down to start recording his first artist album as Motor City Drum Ensemble? - because that is firmly the next step.

“It is time to start planning this thing out, definitely” Plessow confirms. “It’s a progression from what I’m currently doing but there is some pressure, because I’m also doing it to try and justify the hype that has been building around the name… live up to the hype. I don’t want to rush an album out, I will take my time getting the right things together, maybe a few EPs before the big release, but I’ll need to focus. The next few months are an important time for me.”

What might we expect? “You’ll have to wait and see” he laughs. “I get so many inspirations and ideas from being on the road and meeting DJs, producers and singers I admire, as well as experiencing different crowds and places. I have a lot I can work with.”

Whilst Plessow will look to curb the gigs in favour of constructive studio time, his pace of work is likely to accelerate, if anything. It begs the question of when this seriously in-demand young man gets to take holidays. The modern club artist’s lifestyle is as intense as lifestyles get.

“It’s important to treat this lifestyle as a job, not a party. For sure, it’s a great life to be living but you have to have some professional balance” he offers. “I’m a disciplined performer, I will make sure I get a decent sleep before any big gigs so that I’m fresh for the crowd and don’t kill myself. I also plan my commitments so that I can include the odd holiday. I’m off to Israel for some shows in a couple of weeks and I’m taking my girlfriend so we can relax for a week or so after.”

Mr Plessow is also a stickler for his Monday morning ‘detox’ sessions down at the nearby sauna: “People often ask me if all the rushing around DJing and being holed up in the studio is worth it but it absolutely is. I love music and will never lose that feeling so even when things are too hectic there’s this motivation to keep on. Of course, yes, I do like going to the sauna on Mondays; it’s the perfect comedown after a weekend playing out; a great way to get all the toxins out and set up for the following week. I’m only 26 but I want to look after myself!”

Such pragmatism extends to his long-term aspirations. “I don’t think I will be DJing much beyond another 20 or 30 years” he confesses. “I’m not sure that I will be ready for that. I’ve started producing for other people now, like Rainer Truby [German jazz and boogie-meister], which takes me out of my box and opens me up to other things which, in turn, can feed back into my own music. I’ll definitely want to do more of that in the future, make some jazz and punk records maybe… really diversify.”

Was there ever really going to be another career path? “That’s a toughie to answer” he ponders. “I always liked swimming and a little grafitti art. But I was into music really early. I still like cooking, maybe there is a sideline there in the future? – I could open a cool jazz boutique with fine wine and food… you never know.”

In the short-term, however, Plessow is mindful of further cementing Motor City Drum Ensemble’s good name; much has been done but much is also still to come. “I’m not 100% happy with my studio yet” he sighs. “My immediate goal is to add a few things there so that I can produce the records I want to produce next and develop my label [MCDE]. I really want to make one good, worthwhile album; not just slowly disappear. I’d hate that.”

As would we...

Words: Ben Lovett (Defected)

DJ Kicks: Motor City Drum Ensemble (UK !K7) is released on July 4.

This Weekends Activities

Warm & Electric Mind Present: Love Box The Warm Up @ Rivington Studios, Friday 27th.

Line Up

Room 1:
Efdemin
John Roberts
MCDEBen UFO
Tornado Wallace

Room 2

Tim Sweeney
Optimo

Time: 11:30pm - 6:00am

Venue: Rivington studios, 1 Rivington street, EC2A 3DT

Cost: £10 - £20

Muak with Spen & Karizma @ EGG, Saturday 28th.

Line Up

DJ Spen

Karizma

Uner

Nacho Marco

Zaki

Toni S

Sol Brown

Johnny Kaz

Time: 10:00pm - 11:00am

Venue: Egg, 200 York Way, Kingscross N1.

Cost: £15 - £17

DeepCover, Fanatix + Assumption present the Studio PT 2 @ A Secret Location, Saturday 28th.

Line Up

Neil Pierce

Sy Sez

Simon Boi

John May

+Special Guests

Time: 9:30pm - 6:00am Venue: TBA Cost: Ticket Only £12

Buzzin' Fly Bank Holiday @ The Nest, Sunday 29th.

Line Up

BEN WATT

MANOO

CHRIS WOODWARD

SNORETEX

Time: 9:00pm - 5:00am

Venue: THE NEST, 36 STOKE NEWINGTON ROAD, DALSTON, LONDON N16 7XJ

Cost: DOOR £10

Motor City Drum Ensemble vs Ben Westbeech Interview

Saw this interview over at Juno Plus and thought you may be interested.......

The recent Trouble Vision weekender at their delightfully grimey South London home, Corsica Studios, represented all that is good in electronic music right now, particularly Saturday nights proceedings. Alongside the Detroit legend that is Theo Parrish and the ever-familiar members of the Aus roster – Ramadanman, Midland and label founder Will Saul, was Stuttgart’s finest, Motor City Drum Ensemble.

Known for his signature raw sound combining his affinity for classic Detroit techno with Chicago house, Danilo Plessow brings a certain edge away from the same-old monotonous techno. As one of the guest producers besides Soul Clap, Henrik Schwarz, Midland and MJ Cole on Ben Westbeech’s forthcoming album for Strictly Rhythm, Danilo spent his final minutes before show time to chew the fat with Juno Plus contributor Flora Wong and Westbeech about their work together, the Ableton generation and what’s to come from his label Raw Cuts.

What was the working relationship together like for the new album?

Ben Westbeech: Me and Danilo got on straight away and that’s the beauty of music – being able to meet people and the way it connects you. It’s universal, obviously he’s German and lives over there, and I’ve not spent a lot of time there so it’s often been over the internet…

MCDE: I’ve been in London a lot, I enjoy playing here anyway and I’ve been getting a lot of requests… though don’t want to perform all the time, this was a big party…

So which producers do you really respect at the moment?

MCDE: …There’s a lot happening, there’s so much new stuff these days. Every month there’s so many new artists – some of it is really good which really sticks out because there’s so much crap around – you get sent so much music.

BW: It’s almost like this Ableton generation, it’s become so quick and easy to make music – which is a wonderful thing but it means you do get a lot of crap – but if sticks out then it’s like wow, this is really special.

Despite there being an abundance of overused Ableton presets that anyone might be able to get a hold of – what about those who can’t afford to use analogue synths and equipment that you might use?

MCDE: I have a very distinct opinion on this, it doesn’t really matter what equipment you use, but there’s certain borders I wouldn’t cross. Like there’s this studio next to me teaching Ableton to a class, and they learn to sample like Kerri Chandler and some more recent stuff. They literally take the chords, and breakdowns, and re-sample it, and this is when I say – no. This is too much.

BW: That’s just plagiarism, and not being original. In music it’s so important to make your own sound. And say you shouldn’t sample a really big, old tune.

But where do you draw the line?

BW: Yeah exactly, it’s personal opinion, so I can’t really answer that. If you want to sample one of those tracks then cool, but that’s not what I would do personally.

MCDE: Yeah I guess I grew up in a different era, like the hip hop, sample era… You can sample things but there’s a code. You don’t sample other producers’ snares or kicks, and I think that’s a part of the reason why my music sounds like the way it does – not like all the same Ableton sample packs.

BW: Music needs to sound original otherwise anyone could make it, it’ll be like music by numbers you know, and it’s not going to be special anymore.

So how do you stand on all the big edits out there right now?

BW: Edits are like a different ballgame… but taking something, stealing it and say it’s your own…

MCDE: Yeah that’s when it gets shit.

Ben, you once said, ideally, you’d wanted to work with the likes of Neptunes or Pharrell… how important do you think the vocal elements are in electronic music in terms of production quality?

BW: Yeah totally and well being a singer, vocals are pretty important – production quality is really important to me but it depends, like I might take the loop of a simple but then say lets take the vibe off the sample and make a band play it live – and change it slightly but not use it for the final product…

And Danilo, for your label – was Raw Cuts mostly for yourself to release music?

MCDE: The first Raw Cuts was around like 2004/5 but no one would release it, and everyone was raving about broken beat – while house was a little passé. People liked this more technical, abstract minimal sound so no one would play out this music and someone how I couldn’t find a label… but I believed in it and convinced my label partner to do it and three years later it hit the spot so we were like let’s do it.

So what’s planned for the label next this year?

MCDE: We’ve just released a double 12” this week, but the project is now a little bigger than just stuff on the label and we’re using a different formula to try to do different things from Raw Cuts and we’ll be getting more creative…