Having made his name as a true heavyweight of the techno scene with a string of seminal productions to his name, Christian Smith is undoubtedly one of the best-respected names in the genre. Often collaborating with his long-time studio partner, John Selway, Christian’s work has set the benchmark for quality techno; as his releases with Josh Wink’s ‘Ovum’ imprint, John Digweed’s Bedrock, Steve Lawler’s ever-innovative Viva Music and of course, Renaissance, attest. Over the last few years Christian has developed his relationship with Renaissance, with two EPs under his belt. Now he launches the new series ‘Platform’, which has been designed to allow the freshest talent from the scene to shine, and there is surely none more deserving to kick things off.
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Q: A friend of mine saw you play in Miami and said it was one of those special shows that will stay with him for a long, long time (and he is not easily impressed). What do you try to bring to a live set?
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A: It’s not about what you bring to your gig, but how you use what you have. I often see DJs bring 2 laptops, multiple controllers etc, and they barely do anything besides using a reverb effect here and there.
I used to be a battle DJ back in the day so I appreciate having 3 decks (CDJs). I still mix with 3 decks and try to layer my music nicely. I also use a lot of effects, but I do not overdo it. There is nothing worse than a DJ that just scratches and uses effects the whole time. I try to bring a lot of energy into my sets. It’s a party after all and people want to get rocked.

Q: You have quite a history collaborating with John Selway. What changes dynamically when you are working alone?
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A: First of all I have to say that John Selway is a super musical talent and a great engineer. I worked alone before I started collaborating with Selway and I have learned a lot from him throughout the years. I have started working alone again and it’s great fun but also challenging to get the right sound. Thankfully I have produced enough records to know when something sounds right and when it does not. It takes me a little more time than when I work with John, but it’s coming together pretty nicely. The end result is what matters and I am very happy with the way my solo productions have been going. I will still collaborate with Selway as we are good friends, and let’s face it, we work well together and make successful records, but you will see more and more solo productions as well.
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Q: In an interview with Progressive Sounds, you said, in reference to Total Departure, “It’s not often there are tracks that everybody from Digweed to Cox to Hawtin and even PVD play”. Looking back upon a project that elicited that kind of response would suggest that you were definitely doing something right. What has that experience taught you? Was there something special about that release or could the same thing have happened with other releases, and Total Departure just turned out to be the one?
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A: It’s funny you mention this. Total Departure is actually not our first track that totally crossed over into many people’s DJ boxes. We had a big record called “Move!” which came out on “Intec”, Carl Cox’s label 10 years ago. That track crossed over from Sasha (who licensed it for his GU Ibiza comp) to Jeff Mills to Danny Tenaglia and many others. It’s still a classic today and I’m really happy it stood the test of time. I think the key reason why I often have a crossover sound is because I am not a purist. I love house as much as I love techno and everything in between. Moreover I spend a lot of time on arrangements to make sure one can listen and enjoy the track from beginning to end. I think this is something that was often neglected in techno before. There are more big tracks to come. I just remixed Sasha’s seminal “Xpander” track as well as another classic, Trancesetter’s “The Search”. When I’m in the studio I do not sit there trying to make crossover tunes, but I guess this is what I make ?
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Q: How has 2009 been treating you? What have some of the high points been?
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A: 2009 has been great and challenging. It’s not easy to top the big records of 2008, but I’m working like a mad man in the studio cranking out tunes. And I think there are a few biggies coming your way. Also, I am very happy about launching the new compilation series for Renaissance. It’s quite an exciting year for me. I also had some amazing festivals this summer. My highlight was playing in front of 20,000 people rocking it at FIB Benicassim Festival. Seeing so many people go nuts at the same time was a magical moment. I’m flying to Japan tomorrow to play at the Wire Festival this weekend. If it’s anything like last year it will be amazing. Basically I’m just keeping super busy and enjoying myself doing what I love.
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Q: I recently interviewed Cosmo ViItelli of I’m a Cliché Records. We discussed his label’s philosophy of focusing on quality music, regardless of how it might be categorized. I suspect you see things similarly. Have the genres, as currently viewed by the masses, become so saturated with derivative material that a change is on the horizon? Is it happening right now? If so, in what direction do you see the next few years going?
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A: As I said before I am not a purist and I am very happy the way the scene is going right now. I call it the “grey area”. People are playing each other’s music from many different genres. John Digweed plays many of the same tracks as Richie Hawtin etc and I think it is great. This was pretty much unheard of 5 years ago. Also, techno is the same speed as house now which is wicked. I’m not a fan of all this genrefication. If a track is good, it’s good. Who cares if it’s house, tech house, minimal, prog, techno etc.
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Q: The press release for Platform calls it “a mix that takes inspiration from the classic Detroit sound and the contemporary dancefloor”. Can you talk about what you had in mind when you started the process of putting together Platform?
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A: I wanted to do something slightly different from the other Renaissance comps, so I devoted one of the cd’s to the European Detroit sound. Focusing on European producers that have been heavily inspired by the Detroit sound and pushed the envelope a little in the last 10 years. It’s very musical and I really enjoy that cd. It’s different from progressive house, but it has many similar musical elements. I also like the other cd a lot as it is similar to the real clubbing experience you get when you hear me play out. Overall I am very pleased with this compilation.

Q: I’m going to put you on the spot: what is your favorite track on Platform?
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A: Secret Cinema – Kurzweil – Cocoon
It’s a very simple and beautiful track that always delivers the goods when I play it out. Secret Cinema has been around for a long time and keeps on releasing anthems. Much respect to him.
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Q: Platform is going to be released on Renaissance, but you also have releases on Drumcode, Bedrock, Ovum, Tronic (of course), and numerous others. In non-electronic music, labels lock down talent. In electronic music, artists seem to be free to put out records all over the place. Why the difference?
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A: The difference is that with electronic music the labels do not have the giant costs of paying for recording studios for rock bands. These days most electronic producers make their music on laptops. Eric Prydz is a prime example. He makes all of his tracks on an Apple laptop. You could not record a full rock band on a laptop. It would not sound good. Also, sadly most electronic labels do not build or invest in their artists and support them with tours etc. Therefore it is important as an electronic artist to release on a few labels to spread your fan base.
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Q: Speaking of Tronic, how are things going with the label?
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A: Very good if I might say so myself ? I had the re-launch at the start of the year and already had a few big tracks making the top 10 beatport sales charts etc. My goal with Tronic is to make it a big and respected label while building new artists and releasing albums as well. There are too few electronic labels that are willing to release albums and I think it’s a shame. Albums are a great way to show an artist’s variety. Its easy to just make dancefloor tracks, but not a well thought out album.
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Q: Is there any new talent on your radar of whom we should be aware?
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A: Oh yes. There is Wehbba from Brazil. He is very talented and you will see more from him on Tronic and other labels. Also I really like Psycatron from Beflast, Northern Ireland. He rides the fine line between house and techno. Matt Nordstrom from Washington DC is also very good. Being the engineer for Dubfire and Sharam, he has picked up many skills that he now uses to make his own slamming music.
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I’d like to thank Christian for taking the time to answer my questions. “Platform will be available 09-07-09 on iTunes, Amazon, and all those great record shops that do their part to make sure vinyl keeps spinning.

~ Seth Everhart

Tags: Christian Smith, Interview, Platform