Interview/Chat With Deetron

Last month we were elevated by the news that after seven years of waiting anxiously for a follow up album from our favourite Swiss studio whiz, Deetron the long wait is over because some forthcoming album material on Music Man is coming to us soon and promises "a more song oriented structure in the club context." Since his debut long player, 'Twisted' in 2006, Deetron has been busy releasing mind expanding singles and remixes but until now hasn't felt there's been quite enough on the ground to complete a new and storied album. The last few months however have swept him with inspiration and his latest output 'Crave' and ‘Out Of My Head’ with remixes from George Fitzgerald & KiNK are two sterling reasons as to why the wait has been well worth it. 

We pinned down Deetron for a quick chat to talk about the new album, wising up to production and why he isn't nostalgic about the 90's music scene. 

How have you been recently?
Very well thank you. I just came back from a family holiday in Asia and been working on finishing the upcoming album since. In general I'm happy I got to spend so much time in the studio this year. 

How have you seen the scene change since you started out as a DJ in the 90’s? What are some of your favourite memories of this time? For example, your residency at Zrichs legendary Trax club. Do you ever get nostalgic and long for those times again?
There were times when the music seemed to become just a background soundtrack to a night out and an excuse for getting trashed. All that really mattered were kick drums, hats and white noise. Thankfully that has changed for the better again and I believe now is a great time for our music, quite possibly even better than back in the day so it's safe to say I'm not nostalgic at all. However seeing Surgeon and Jeff Mills on a regular basis back then was a very special treat. 

How have your musical tastes evolved since then? Are there still sounds you are wanting to explore?
Absolutely, there are huge amounts of music I'm buying but not really getting around to listening to properly. I'd love to dig deeper into contemporary Jazz, Soul and instrumental Hip-Hop and I do so whenever I get the time. 

How often have you been to Detroit? How has the Motor City had such a strong influence on you?
Only twice if I'm not mistaken. The city itself is not that exciting, which probably is the reason people tend to spend their time on making amazing music. Obviously our kind of music started from there and it was also the music from Detroit, which caught my attention and got me hooked to electronic music in the early days.

Who are some of your favourite Detroit producers?
Theo Parrish, Carl Craig, Patrice Scott. 

Why is Music Man the label home for a lot of your consistent studio output? Can you pick a couple of your favourite releases for the label and tell us why?
My relationship with Music Man started with a demo tape over 10 years ago and we have consistently been working together ever since. I really like the way they work as they're not just interested in a short time success or a hit single but intend to build an artist's career over time. My favourites are "I Cling", "Orange" and "Crave" simply because they're possibly my favourite tracks from my back catalogue. 







What’s the vision behind your forthcoming album on Music Man?
There is no strict concept behind it other than making good music but the intention is to work towards a more song oriented structure in the club context. 

How is this project different from your debut album, ‘Twisted ‘and why have you chosen to wait till now to follow it up?
The reason is quite simple: I kept releasing singles of my tracks and working on a lot of remixes so I never had enough music for an album. Recently I've had the inspiration to work on so much music though and I've also concentrated almost solely on the album for the past few months.

Can you describe for us the single ‘Out Of My Head’, featuring Ovasoul7 on vocals. How did George Fitzgerald & KiNK get involved on remix duties?



It's a very soulful vocal house tune with the beautiful voice of Ovasoul7, who sang on "I Cling" as well. I remixed George's "Every Inch" last year and he returned the favour in the form of his excellent remix. As for KiNK, I met Strahil a few times on tour and he's such a lovely guy plus I'm a fan of his music so he was the obvious choice for the second remix. If you haven't had the pleasure of seeing his live act - he's one of the best out there!

How would you describe the style in which you DJ? What other DJ's do you look to for inspiration in their ability to traverse their personality, energy and feeling to the crowd?
I find it hard to describe it myself but it definitely has a strong technical aspect to it. Furthermore I don't like to limit myself to a certain genre only and try to create a musical experience, which is energetic and versatile at the same time. As mentioned earlier I was always really into the DJing of the Detroit guys, in particular Theo, Derrick and Jeff. More recently Todd Terje has impressed me very much with both of the sets I've heard from him.

Your biography mentions your extreme self-criticism when you are selecting tracks to play out, and also with our studio output. Can you tell us about this a little bit, and how you turn it into a positive as a creative artist?
I find a lot of music, which I like but whether to play it or not is a totally different story. I'm not the kind of DJ who needs the newest tunes every week, I actually hardly ever play any tracks just once or twice but rather choose tracks which can work over time. As for the production side of things, it can be tough at times but I've become a bit wiser in the sense that I keep any drafts or unfinished tracks, which I'm not totally happy with on my HD and restart work on them after weeks, months or sometimes even years. 

What are you looking forward to most about this year both in your artist output but also on a personal note?
From a musical point of view, the main thing to look forward to is the album obviously. On a personal note I'm looking forward to spending a lot of time with my family!



Article Sourced: http://www.fabriclondon.com/blog/view/a-quick-chat-with-deetron

Pharrell on Daft Punk

Wolf vs Futureboogie in a short Video Interview

The two came together and Wolf Music took on Futureboogie to deliver the finest musical sounds they had to offer to a Manchester crowd ready for the action and also caugth up with of XYST in this interview.

Seth Troxler: Fireside Chat With RBMA (Audio)

It ain’t easy being from Kalamazoo. Caught equidistant from Chicago and Detroit, you can’t rightfully claim either major Midwestern city as home. Just ask Seth Troxler. After he moved to the suburbs of Detroit he spent plenty of time in the trenches at record stores, parties and the music scene, but it took a long time before he was finally accepted as one of the Motor City’s own. In his recent Fireside Chat for Red Bull Music Academy Radio, Troxler recounts how Carl Craig finally presented him with his official Detroit credentials.

DJ Koze Interview

Recent months have seen a flurry of activity for the usually elusive DJ Koze, soon to be topped-off with his first new LP for close to a decade. Here, Defected’s Ben Lovett speaks to the German producer about his label and latest project.

DJ Koze’s new album, his first in eight years, is about as far removed from the topical glitz of EDM as it is sonically possible to be.  And then some.  Released through his own label Pampa, Amygdala is, as the press blurb attests, Koze’s wildly oscillating, brilliantly techniclour Sgt. Pepper moment; no mean feat considering the maverick diversity of his CV to date.

“EDM is funny, a symbol of how lame the system...the music industry...has become” he opens.  “The Americans present it like it’s this big new revolution but everyone else around the world is laughing because they can’t quite believe it.  EDM is not what we [the dance scene] have been working on these past 20 or so years.  It’s under-challenging; it has less to do with our music than, say, reggae, has with Basic Channel [the famous electronic outfit has worked with reggae artists and on classic dancehall reissues].  It is more like rock with the machismo and big balls mentality.  There is no soul or depth; there are some other ingredients but not ones we use.  EDM’s only link to our world is the fact that it is produced electronically.  But, look, I’m not worried about it, or confronted by it; it’s just funny.”

What, then, of Amygdala?  How does Koze – real name Stefan Kozalla - even begin to summarise its unpredictable shifting between different electronic moods, modes and mien?  “It’s both what my world is and isn’t” he indicates.  “The last bit is very important, because I don’t want this viewed as mere techno tools.  Yes, my music has moved closer to techno over time but it has a wider appeal.  That’s just what is happening.  It [the album] is a small, unique cosmos in the sonic universe.  I’m a harsh self-critic but this album feels perfect.  I’ve achieved what I wanted to; I’ve totally let go.”

Amygdala moves with exhilarating off-kilter purpose, blurring techno and micro-house boundaries through a rich, often unreal variety of vocal, instrumental and sample filters.  Smart collaborations from those including Apparat, Matthew Dear and Dan Snaith’s Caribou only add to the intrigue; the latter contributing quirky, feather-light vocals to engaging lead single Track ID Anyone?

“I didn’t plan any of the collaborations” Koze professes.  “They were a nice coincidence each time they happened.  All of my collaborators are like-minded friends; like with Caribou, we didn’t talk much.  We didn’t need to.  It was like old buddies, we knew what we wanted to do.  That said, everyone told me to do what I needed to with their input, to get things as I wanted.  The working atmosphere was therefore calm...really good.  I couldn’t have asked for more as an artist.”

Ironically Hamburg-based Koze’s first musical meanderings were mainstream ones.  During the Nineties he ran, successfully, with German hip-hop crew Fischmob (and was a runner-up at the World DMC Mixing Championships) before gravitating to screwball soul and R&B in trio International Pony (with Cosmic DJ and Erobique) during the early Noughties, as well as deeper, electronic territory as Adolf Noise (with friend Marcnesium).  Koze’s separate solo outings on Kompakt strengthened his association with underground dance - covering everything from leftfield house and crisp techno to sleazy disco and crunching electro - as did remixes for Matias Aguayo, Tiefschwarz and Efdemin, the launch, in 2009, of Pampa, and his snowballing DJ commitments.

Koze has always nurtured diversity in his work, and yet his transition from hip-hop to 4-4 over the past decade is strikingly rather than subtly evident.  Was there any particular reason for the change?  “I still love hip-hop very much today but, from a recording perspective, I started to object to its social system” he says.  “Electronic music is more social.  Fans from the shoegazer indie scene, or hip-hop or techno scenes, they all like to dance at night, drink, and enjoy the freedom of the club...the space.  People have the ability to support their own core scene but also enjoy electronic music too.  Working in hip-hop, there came a day when I suddenly felt like a stranger.  It’s a highly masculine scene; very competitive and aggressive, and I don’t possess enough of those qualities as an artist today.  I grew out of all that stuff; it was restrictive.  I’m happy with where I am today.”

But not always happy to do interviews and promotion as he frankly, and rather refreshingly, admits:  “I’m sorry but it’s a horrible job to do.  It’s so demanding.  I’ve already been doing interviews for a week.  I’ve been drinking in the evenings between them to cool down and as the days have gone by I’ve been getting more and more tired, and my answers less and less clever.  On the other hand, I’m aware I haven’t released an album for eight years and need to do everything possible to present it in the right way to my audience.”

Koze released his debut solo album Music Is Okay in 2000, following up with Kosi Comes Around on Kompakt in 2005 (as well as, in the same year, an Adolf Noise long-player Wo Die Rammelwolle Fliegt).  The considerable length of time untilAmygdala will raise questions and gaping misconceptions, a situation intensified by the relentless 24-7 whirr of contemporary clubland; whirr fuelled by online news sites, blog posts, social media hubs and fan forums.  Is Koze confident he can position this latest phase of his career in the way he wishes to?

“As an independent, as someone having to marry the personal and professional, all of the opinions and criticisms can be difficult to deal with” he explains.  “It hits you all directly; it’s exhausting.  I’m not really so concerned about public image but I know if I don’t appear then no-one will know who I am or what I am doing.  It’s pointless speaking if there’s nothing to say but here with the new record I do have things I need to say.  It [promotion] is a difficult challenge but I think I’m making it clear that this is a unique album in its own unique space.”

There is plenty planned for the rest of the year.  Pampa, for starters, is shifting gears after a relatively quiet 2012.  “The label is about providing soulful, forward-thinking options to dance” Koze stresses.  “Last year we didn’t really have a concept; we were releasing as and when people finished products in the studio.  This year, however, it’s like a traffic jam; we have lots of exciting projects in the bag already.”  Namely EPs by Isolee (Allowance, released earlier this month – “it’s the nicest thing he’s done since Beau Mot Plage”) and Matthew Herbert (including Koze’s own flawless remix of ‘It’s Only’), a mini album by German vocalist-producer Ada (also featured on Amygdala), and full long-player via Deutsch duo Die Vogel, due later this year.

Koze is also about to tour his new album with “straightforward DJ sets” and start planning a full-on live show for 2014 – “ideally, I’ll copy the best ideas from Deadmau5 and Daft Punk and recycle them into my own trashy electronic show for as a little money as possible” he seemingly quips.  “There needs to be something more than just standing behind a laptop.  I need to challenge myself.”

Does the performing sap as much as doing interviews?  “I love travelling, experiencing new things and people” he replies.  “But if I could have the same money for releasing records as for DJing?  Well, then, I’d probably split my time between the clubs and studio more evenly.  The fact of the matter is that whilst I enjoy playing for people, it’s also the main source of my money so there’s a need to focus on performing.  That then makes it even more important to pick the right work in the studio.

“It’s a tightrope walk; if I want a satisfying result then I need to be able to focus on one thing and one thing only.  I can’t juggle tasks, I have to think in blocks.  When I DJ I’m in that mode completely and then need three weekends off before I’m in the right frame of mind for producing.  If I’m producing, then I need to think carefully about the tracks I’m taking on; time is precious so I want to be working on the right things and leaving everything else out.  It’s tricky, I have friends who are big, successful DJs but there are no albums to their name.  They’ve made a decision to pursue the DJing fully over album production.  Me?  Ultimately, I want to produce music...good music.  ”

DJ Koze is serenely confident about his unique career path and future progression; this despite the further obstacles and outside pressures he is likely to encounter in the months and years ahead.  He is sagely aware that they’re out there waiting for him.  “I know what I am doing and that’s the key to everything” he asserts.  “I’m like an outsider, an outlaw to EDM and its militaristic global fashion for releasing peak-time weapons of mass destruction.  My Pampa family and I, we’re like a band of hippies following our own rules, changing those rules up and letting everything go in the interest of good music.  That’s all I want and need.  Things get crazy sometimes but I’ve given myself enough space to catch the right ideas and inspiration.  I have my own cosmos.”

That’s a proper big balls mentality for you....

Article sourced from:

http://www.defected.com/news-reviews/word/Koze+Kicking+On/2397

Kris Wadsworth Attack Magazine Interview

“Did you really think I was going to lie like other people?” Kris Wadsworth offers up one of the most honest (and funniest) selections of Top Tracks to date…

WHAT’S THE FIRST RECORD YOU EVER BOUGHT?

KMFDM – ‘Flesh’. I’ve tried to answer this question before and, to be honest, it was quite a few. I can’t remember exactly. Probably some sort of heavy metal or industrial or hip hop. I don’t know. Do tapes count? I used to listen to this when I was like ten or eleven years old. I can say that for sure. I think I just barely passed a subject in school and got this as a reward for not being a total fuck-up. Music was often the reward for that… until I almost got kicked out of school entirely.

THE FIRST TIME YOU REMEMBER HEARING ELECTRONIC MUSIC?

I have no idea because I’m only 28 and there has been electronic music since before I was born. I’ve heard it my whole life, if I really think about it. Probably in the Winnie the Pooh stuffed animal that I had with a little ‘press-and-play’ synth in its sweater. I totally remember listening to that over and over again, practically in my ear at night when I was a little kid and couldn’t sleep. It was strange because when you hold a ridiculously cheap little synth like that very close up to your ear, it sounds insanely detailed and bizarre. It blocks out noise and stray thoughts and everything, really. I must have liked that, I guess?

Did you really think I was going to lie like other people and try to pass off some sort of dance music as the first electronic music I ever heard? That is ridiculous.

YOUR FAVOURITE EVER RECORD?

Haus Arafna – ‘Independent’. They’re kind of Satanic. I love almost everything they’ve made. This is 100% true: I discovered them by accidentally – and was absolutely hypnotised by their stuff – shortly after I got a second blatantly Satanic tattoo. I had never heard them before that. Coincidence? No such thing as a coincidence…

THE GUARANTEED FLOOR-FILLER?

David Allen Coe – ‘Fuckin’ In The Butt’. This gets everyone going crazy every time. Essential underground ‘banger’. DAC dedicated this to the Mickey Mouse Fan Club. Fantastic!

THE GUILTY PLEASURE?

Throbbing Gristle – ‘Hamburger Lady’. I actually don’t feel guilty at all for loving incredible music. I love Throbbing Gristle. The harmonica they used sounds guilty as a motherfucker, though. It sounds like it had a rough few centuries and is sweating in hell for it forever. Chin up, harmonica.

THE BEST CHILLOUT RECORD?

Three 6 Mafia – ‘Lick My Nuts’. I love Triple 6. Always chills me out because they usually say what I’m thinking so I don’t have to. I can just leave this on someone’s voicemail or send it in an email and avoid the whole ‘hey, fuck you’ routine. I’ve always admired their productions. Their beats go hard as fuck, but they float really smooth at the same time. Their old shit is beyond brilliant. They suck now. T hey did something with Tiësto and, well… that pretty much explains it. That is what is called a tragedy.

THE BEST RECORD FOR A FAMILY PARTY?

Formation Records’ Formation Colour Series. I don’t have much family. We never really partied anyways. A ‘family party’ is a nightmare for me unless they are listening to some shit like this. The only family that I knew that ever did was the family of one of my ex-girlfriends who is now dead. They would rock jungle and dope-ass techno on every holiday, every birthday, etc. Anyone who knows what the fuck this series is… they’re totally welcome in my home.

THE SOUNDTRACK TO A LAZY SUNDAY AFTERNOON?

Haus Arafna – ‘Last Dream Of Jesus’. I have sex with lazy nuns on Sunday afternoons. I always play this to get them in the mood. They tell me it’s a dream ‘cum’ true. That isn’t true, but it would be awesome if it was. Ayyyyy-MENNNN!

THE WORST RECORD YOU’VE EVER HEARD?

My shit sucks. I will be the first one to tell you that. It isn’t popular, it isn’t glamorous, it’s not meant for beach parties, I never give two shits if it sells, and it doesn’t have people singing about dumb bullshit unless it’s me fucking around on purpose. I just try to make shit that expresses me accurately. That’s why people are reading this to begin with.

I’m a horrible DJ and producer who has no range and doesn’t know a damn thing about music. I always sound the same for my entire DJ set, and on every track and remix I make. I never take chances for the sake of pushing creativity. I tell everyone I’m an artist, but I’m just a fraudulent, flakey fuck with a manager, who kisses ass.

I make the worst records I have ever heard. My new PR campaign – Fuck Me – I’m Shit t-shirts and bumper stickers…

THE FUTURE CLASSIC?

Wolfgang Voigt – ‘Fremde Hände’. My favourite electronic music producer of all time. If most people could even wrap their heads around this track – or understand how much music this guy makes, how much music he has made under various aliases, and how much he has influenced everyone whether they realise it or not – they would stop listening to all this dumb-ass ketamine crooner, idiotic, fake, garbage out here. But they won’t. It blows my mind how many people have no idea who this guy is. It’s sad. Wolfgang Voigt is someone I will always regard with the utmost respect.

Article sourced: http://www.attackmagazine.com/features/top-tracks/kris-wadsworth/

XYST Video Interview Detroit Swindle

If you don't know Detroit Swindle by now, you should get to know......

Meet the wanderer... Romanthony

House veteran Romanthony talks on camera to Slices about his lean production period following the success of "One More Time" alongside Daft Punk.

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/