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Fedde le Grand: Exclusive RV Interview

Interview | From the mind of Eddie | 03/12/2010

Fedde le Grand

This week I had the opportunity to interview Fedde le Grand, an artist who stands on the edge of global superstardom. Fedde’s career is studded with worldwide number ones, packed arenas, throbbing dance floors, A-list collaborations, and a string of international awards. While he’s already accomplished much, Fedde is not resting on his laurels. He recently released iFedde, a pioneering iPhone application, and he has an upcoming gig at the Miami Ultra Music Festival. Needless to say, Fedde’s interview makes for interesting reading…

Q: Can you talk a bit about your early career? How did you get so into dance music that you decided to make a living from it, and which artists influenced you early on?
A: I actually started off DJ-ing at school, funnily enough. They didn’t teach it in lessons. But I used to bring my decks and tunes to school, and that’s where it all started off. I just worked my way up from there. My Sneakerz parties were very influential in the early years, then obviously “Put Your Hands up for Detroit” happened, which bought me to a wider audience. And I’ve been building on it ever since. I was influenced by people like Michael Jackson, George Clinton, those kind of guys from an early age. I definitely have an obsession with funk.

Q: At this point, you’ve cemented your position among the Dutch Masters – artists like Tiësto, Armin Van Buuren, and Ferry Corsten. What pros and cons have you experienced as a result of building your career in the Netherlands, a country that is home for so many acclaimed DJs?
A: I think the pros are definitely having a lot of support from your own country. We’re a nation of dance music lovers, and there’s great backing for homegrown talent and what we do. The cons? Maybe everybody expects me to do the same as all other DJs from the Netherlands? I don’t think there are very many cons to being Dutch ;)

Q: Over the years, you’ve explored a number of different musical styles, from electro house to darker, more minimal tech house. At present, which style is your true passion and why?
A: I don’t ever say there’s one style that I’m into at any given moment. I have an eclectic taste in music and also with what I produce. I tend to split my sounds between my Fedde le Grand name and my more underground FLG style. It just makes it easier for people to determine what mood I’m in with music I put out there. But I love everything from minimal beats to more house production to pop.

Q: You just launched an interesting iPhone application that allows people to access your music community without being tied to a computer. What was your motivation for developing this application? What do you hope it accomplishes?
A: iPhone apps are one of the most interesting new developments around, as far as communicating with fans goes. I think it’s so important for me to be able to talk to people wherever they are. I really like the idea of building a community of like-minded people, sharing ideas about music and clubbing and life in general. My online site was completely revamped last year to make it more user friendly, and we’re adding new options all the time, like giving people access to upload their own productions, share those across Facebook and MySpace and places like that. And people can give their opinions on the work and vote for the tracks they like. I’ve just actually signed up the first person from the feddelegrand.com site onto Flamingo Recordings which was great. So now with the iFedde iPhone App, we’ve extended everything we’ve done on the site into your mobile life, so you can check in whenever and wherever you want, get involved on the forums and chats even if you’re on the dance floor! For me that is mind-blowing. I love this new digital age we’re in. The developments and possibilities are exciting. (more…)


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Exclusive Interview with Slacker

Interview | From the mind of johng | 03/09/2010

SlackerShem McCauley AKA Slacker has been a DJ and producer for many many years. His career can not be defined by one style of music as he has dabbled in tons of genres ranging from UK Hip-Hop to funky House and everything in between. He even started his own record label, JukeBox in the Sky with long time studio partner Simon Rogers. Together they have released some killer tracks over the past couple of years.  Slacker soon became fed up with the music industry and decided to move to Thailand where he has been for the past two years. He recently released his first new album since the move, entitled  “Start a New Life” which defines the long time electronic music veteran’s new ethos!
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Resonant Vibes had the pleasure of catching up with Slacker to talk about his new album, the move to Thailand, and a whole slew of other issues in the music industry. We hope you enjoy this exclusive interview with Slacker!
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Q: How did living in Thailand for the past two years impact you personally and your musical style?
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A: My life changed completely when I moved to Thailand. I know it’s a bit of a cliché, but everything became simpler and clearer, and I became more focussed. I don’t think my musical style changed as much as my ability to see the bigger picture, and so realise the completion of an album project I had spent years dreaming about.
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Q: I know you wrote, “Start a New Life” in a Bangkok shopping mall. Does that mean you actually produced the music there too? What programs did you use and how was your approach different then making music in a studio?
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A: Indeed, everything was done on my laptop/headphones in the foodcourt of a mall in Bangkok, right beside the yoga studio where I practiced and later taught. I have always worked with samples, almost exclusively; even bassline and keyboard sounds coming from samples/found sounds rather than synthesised sounds. So it wasn’t as if I was recording vocals or getting musicians in to jam with me in the mall! Nowadays music technology allows for almost everything to be done on a computer – if the musician is happy working that way. I found the lack of other external options a bonus rather than a drawback. I tend to become overwhelmed by wanting to try everything, so not having a load of synths or outboard gear totally suited me. I used LogicPro, on my Apple Mac 12” Powerbook.
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But the most important thing was having people milling around. I don’t like working alone, and though I wasn’t working with anyone else directly on the tracks, it made a real difference to feel surrounded, as opposed to isolated, while I worked. Luckily I didn’t have to do the final bit alone. I mixed the album down in a small studio here in Bangkok with a talented English producer named Simon “Monstamix” Henderson. It was actually one of the most enjoyable parts of the process.
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Q: The new record has a real Omanis vibe to it. In particular you use some incredibly haunting vocal samples. Where did you find those samples or how did you create them? Is there any specific message your trying to convey by using certain samples?
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A: I am attracted to certain sounds and atmospheres in samples which often take priority over the words themsleves. But when I find something with a rocking sonic quality where the words resonate with my thinking too, then it’s a dynamite combo. I used to spend a lot of time bored in the UK watching film and tv, and got a lot of the samples from obscure documentaries and strange films. No special message, but all the titles touch on a personal journey, as opposed to outside bigger picture stuff. I didn’t intend this when I started, but it just kind of came together that way.
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Q: Are you planning to stay in Bangkok and just produce music every once in awhile or are you back in the music industry to stay?
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A: For now the former, but I am open to the latter. But always in Thailand :)
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Q: What are the major issues in the music industry that you have experienced? How do you think the industry can legitimately change for the better?
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A: There’s so little earning power in music writing these days. You need to be able to churn out product at an alarming rate to make it pay even vaguely well, and I am not able to produce original material in such volumes on my own. Back in the day working with my old music partner Simon Rogers, who was a godly musician and a whizz at getting stuff done, things were easier. But after we parted ways, I had to change what I was doing. This album is the result.
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Looking to the future, it’s the now seemingly age-old cunnumdrum: how to get people to pay for music again. A whole generation currently expects to get what they want instantly and without fuss or cost: they don’t know anything else. I think things are improving slowly, but it’s a big question which I don’t have many answers to.
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Q: What do you think is the quintessential “Slacker” sound? Do you plan on sticking with your new style or are you just dabbling in a different genre?
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A: Organic, thoughtful sample-based music, a bit tongue in cheek, and a bit funky. I am enjoying this slower more downtempo genre for the time being, but I am sure I still have a few banging house tracks left in me.
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Q: You have operated your own record label “Jukebox in the Sky” for several years now. How has that experience been? How do you strike the balance between being a producer/DJ and a businessman?
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A: It was great fun at first, especially when I had enthusiastic people working with me, most notably Rosie Robinson who looked after every part of the label’s development and day to day running in the mid noughties. When the bottom fell out of the business and we had distributors and compilation companies going bust left right and centre, owing us thousands of pounds, it all became a bit more realistic. Pretty soon I realised I wasn’t that much bothered with being a businessman! Moving to Thailand confirmed this for me. I need to be out and about, listening, or writing (rather than selling) music to be happy.
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Q: What has been the most important moment in your music career thus far?
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A: Making the decision to come out here, and start my new life.
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John “The Grizz” Grisanti


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An Interview with Mr C.

Interview | From the mind of Sam | 02/08/2010

Mr C. | The Resonant Vibes Electronic Music BlogA few days ago I had the chance to catch up with Mr C. about his recent move to LA, getting his acting career started and his current musical endeavors.
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If you grew up in Britain in the 90’s (and liked electronic music) you should know who Mr C. is. For those of you who didn’t here’s some background info:
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Mr C. got his rise to fame as the MC and front man for UK pop outfit The Shamen. They had a few hits in the early 90’s but non bigger than their tune Ebeneezer Goode which was controversial thanks to it’s choice chorus of ‘eezer Goode, eezer Goode, he’s Ebeneezer Goode’.
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The song made it to the top of the UK charts in 1992 but the BBC banned it (although later withdrew the ban) citing drug reference as the reason, a claim that the band denied. The ban didn’t make much difference though as the song had already become a symbol of good times and clubbing so the damage had been done. Ironically it now sits at the top of a completely different BBC chart.
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Since his Shamen days Mr C. has produced under a slew of different aliases including under The Sycophant Slags name with Adultnapper. Along with Eddie Richards he had a hand in making UK tech-house what it is today, or perhaps what it was a couple of years ago given the obsession with post-minimal-bongo-laden ‘tech house’ that seems to be the rage right now.
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He’s been behind labels like Plink Plonk, The End Recordings and Superfreq which is a label and successful club night. He was also partners in the infamous London club The End with Layo Paskin.
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Check out interview after the jump. (more…)

 
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Miguel Migs: Exclusive RV Interview

Interview | From the mind of Eddie | 01/15/2010

Miguel Migs

This interview with Miguel Migs has special significance for me…for a number of reasons…I can still remember when I bought a set of turntables, 10 years ago or so. The first record I picked out was Nude Dimensions, Vol. 3., featuring a track by Miguel. I can also remember being moved by his mixes, like Nude Tempo One, which still may be my favorite deep/soulful house mix of all time. In this interview, Miguel says he tries to inspire a “positive memorable feeling” in people with his music. I can say he’s certainly done that for me!

Q: I think it’s safe to say you’re one of the best-known deep house artists in the world. What do you see as being the key factors to your success? Is it your work ethic or maybe natural talent, good fortune, or a certain personality trait?
A: I’m not exactly sure…maybe a little bit of everything you just mentioned. Also, staying consistent through the years plays a part, and that shows in the music. Staying true to doing what you feel shows in your music and vibe, and that’s genuine. Some artists seem to be more interested in just following what’s trendy rather than what they feel.

Q: Which period of your electronic music career so far has been the most fun? Was it the early days (the mid nineties) when you first started producing? Or was it possibly around the turn of the millennium when you mixed the sensational Nude Tempo One release, or maybe when you started your Salted Music label?
A: I guess the most fun for me would be the 90s. The economy was healthy, and that was pre-9/11. I think people were a little less stressed in general, or at least I know I was…less responsibility, just having fun, playing music and experimenting with electronic production…plus there was more feeling and emotion in the music in my opinion, and there was more excitement at the parties, and more of an open minded diverse communal vibe to it all.

Q: What made you focus on the genre of deep house? How does the music make you feel when you’re producing, DJ-ing, or listening to it?
A: The feeling of it all is what inspired me, and I was drawn to the soulful side of things. I always have been no matter what kind of music it is, and I love all styles of music. I didn’t really plan on being so involved with house music. I was playing live music in bands but became really attracted to writing and producing soulful dance music in the studio. It all sort of progressed from there, and I sort of just dove into it. If I’m working on something, I usually give it all my focus and energy, and somehow I managed to stick with it.

Q: As a follow up on the previous question, how do you want people to feel when they’re listening to your music? Are you trying to evoke a particular physical, mental, or even spiritual response?
A: Music is amazing in that it can be so powerful with creating memories and triggering all kinds of emotions. When I’m creating music, I’m simply doing what I feel, and it’s coming from somewhere pure, so my goal is for people to connect and identify with the music on a deeper level. I prefer to inspire a positive memorable feeling rather than just a night out of getting wasted and partying at the club…I mean, there is room for it all and a time and place for everything, and I love and listen to all kinds of music, but I gravitate towards the soulful side of things.

Q: There’s something especially natural and fitting about the combination of your productions with the vocals of Lisa Shaw. How did your artistic chemistry with her develop?
A: We met over 10 years ago and connected right away. We are great friends and connect on musical ideas fairly easily, so it’s pretty stress free when we collaborate on a song. She is always a joy to work with as we both have a focused work ethic and similar taste in music…and she is a great person along with being super talented, which makes it even more enjoyable to work with her.

Q: In some contexts, you’ve gone by the moniker “Petalpusher.” Does the term have any particular meaning? What’s its origin?
A: That was the name I used on my first release with Naked Music back around 1998 or ‘99. I had finished a song called “Breakin It Down” featuring the vocal talents of Ledisi. At that same time Naked Music was in the making so they wanted to pick up the song and use it as their first release… I wanted to use another name besides Miguel Migs, and “Petalpusher” came about spontaneously, partly to do with the artwork for the single. Petal referring to the petal from a flower.

Q: What do you want your musical legacy to be?
A: I just love writing and creating music, and I will continue to do so as long as there is someone out there who enjoys listening to it!


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Gadi Mizrahi of Wolf + Lamb: RV Interview

Interview | From the mind of Seth | 01/14/2010

gadi_interview

Seth: (After some chitchat) Want to get down to it and jump to interview mode?

Gadi Mizrahi: Sure.

Seth: Let’s start by talking a little about the reason we’re chatting. I loved your set/podcast from Bar 13 WLP 90. Can you tell me about what was going on that night?

Gadi: It was a sunset party on a roof in Manhattan.

Seth: What was the crowd like that night?

Gadi: The usual W+L following, with some city folk. Funny story… I followed someone who was playing tech-house which is usually the story. So when I start playing really SLOW, the crowd usually feels strange for a few minutes but that’s kinda my whole MO – take people for a ride.

Seth: So in this instance, Wicked Game was setting the mood and acting a bit like a palate cleanser? Hitting the resest button?

Gadi: EXACTLY the term i use as well. I do that every time I DJ. Some people really appreciate it, some don’t.

Seth: Do you pick your first track based on where the other DJ has been or where you’re headed for the night?

Gadi: I usually try to take in the city I’m in and the crowd I’m playing for and what the crowd has been reacting to (from the previous dj’s). I think the first 2-3 tracks are the most important to set a different tone and usually those are the ones on my mind the 2-3 hours leading to my set time.

Seth: And after that I would assume, especially based on the night in question, everything pretty much falls into place. Once you’re in the pocket, do you steer, does the crowd steer you, or is it a combination? Does it depend on the crowd?

Gadi: Yeah, i start off steering them, then I take cues from the crowd

Seth: Some DJs/producers/labels ect. seem to think only in terms of “electronic or not electronic”. You don’t strike me as one of those people. What are some of your favorite bands/artists?

Gadi: I’m really into J Dilla. Ever since my girlfriend made that podcast WLP091 I’ve been getting super inspired by that sound. I’ve been trying to make that type of shit lately…just to try something new

Seth: Any other influences creeping in or are you pretty focused right now?

Gadi: This band called “Electric Wire Hussle” just came out with an R&B type funk album that’s off the meter.

Seth: Nice. I’ll have to check into that.

Gadi: I live in Williamsburg, the hub of indie rock but i never hear anything from that genre that blows my mind…strange. I mean, I love the simplicity (more…)


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Exclusive Interview with Andy Caldwell

Interview | From the mind of johng | 11/10/2009

Andy Caldwell | Resonant Vibes Electronic Music Blog
Andy Caldwell is not only a DJ and producer but is also a classically trained musician who runs his own record label called Uno Recordings. His astounding 15+ year career has taken him all around the world, playing packed gigs ranging from small clubs to giant raves. He has essentially dabbled in every style of house music that one can imagine, and still continues to push his sound in new directions. On his newest release, Obsession, Caldwell has once again re-defined his already sophisticated songwriting and production skills by exploring new realms of music.
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Resonant Vibes had the pleasure of catching up with Andy Caldwell to ask him a couple of questions. We hope you enjoy this exclusive interview.
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Q: You’ve produced various styles of house over the past fifteen years. Can you describe your current sound and tell me where you see that sound heading in the future?
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A: My current sound, hmm, that’s tough!  I suppose I would call it big room house with an electronic edge.  I’m still playing lots of vocals though, I don’t think I’ll ever fully get away with playing an instrumental set.
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Q: Can you describe the creative process you went through to produce your new album “Obsession”?
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A:  I spent about a year working on the record in total.  I had a few starts and stops the previous year and ended up starting from scratch on “Obsession.”  I just got in the studio with a couple of writers and singers and we knocked out the album.  I’d arrange the basic tracks and then collaborate with the vocalists.  It was a bit of a challenge as I wanted to finish the album and not have it drag on and on for years!  My last album took several years to finish:)
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Q: You’ve been running your own record label, Uno Recordings, for a couple of years now. Has that been a positive experience? How do you strike the right balance between being a DJ, producer, and entrepreneur/businessman?
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A:  It’s been a great learning experience.  I’m barely breaking even on it though but I’m allowed total creative freedom.  I’ve got a great distribution deal with Tommy Boy and they are really on top of everything.   It’s tough to balance out the label work with the creative however.  When I need to do remixes or get in the studio to write new material, I’ll put everything else on the back burner.
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Q: How have your formal musical training and education influenced your DJ-ing and production?
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A: Well, everything I do is based in a classical music framework so without that foundation it would be very difficult for me to create the melody and harmony.  Knowing scales and chord progressions make the composition process much easier.  There’s essentially no trial and error, unless of course you wanna experiment and go outside the box a little.
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Q: Vocals often play a central role in your productions. What is your approach to writing and recording good vocal lines? What are you usually trying to accomplish when you include them?
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A: Practice, Practice, Practice!  Song writing is kind of like poetic math, you have to work with words in a rhyme scheme while you create melody that contributes to the content and elevates it.  The trick, for me at least, is to be able to write when inspiration hits!  I’ve written plenty of songs that are very deliberate but my favorites are the ones I wrote in a fit of inspiration!  I wrote “Warrior” in 10 minutes for example!
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Q: What changes and shifts have you witnessed in the dance music scene over the past few years? What are the new trends?
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A: It’s an exciting time for the dance music genre, we’re finally getting some respect from the mainstream!  Unfortunately the good stuff is still for the most part, underground.  I’m hearing house and electro seep into everything from Lady Gaga to Little Jon and Shakira.  2010 will be the year that house music breaks back into the mainstream, it’s going to be good for everyone including those of us who don’t get any radio play.
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Q: Have you found any new pieces of equipment that you enjoy using in the studio or on the road?
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A: I’m still in love with Ableton Live.  I’ve gone back to using ProTools a bit though as it’s got some great new plug ins for version 8.  As for outboard equipment, I love my Disstressor with Brit Mode – wicked compressor!!
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John “The Grizz” Grisanti


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Five Questions with AMBIVALENT (Minus/Detroit, USA)

Interview | From the mind of Deepak | 10/24/2009

Many people recognize Ambivalent (aka Kevin McHugh) as the upcoming artist featured on Richie Hawtin’s Minus imprint, and while that is true, there is the side I also remember from his days in New York when he hosted his “Micromini” nights at Filter 14, and was co-host with Camea on The Nerd Tank radio show on East Village Radio.  I know Kevin as a genuine purveyor and lover of techno, and before the craze of minimal, he was there from the early days.

I had a chance to speak with Kevin as he prepares to play in NY and LA Halloween weekend.  Now a Berlin transplant and in-demand artist globally, he still finds time to engage in a small chat.

Here are five questions I asked him. Enjoy.

Ambivalent

Deepak: It seems like you have been working with Richie for a long time.  when, where and how did you relationship develop and how has your relationship evolved now that your a Minus artist?
Ambivalent: I met Rich when I was doing a music festival for an arts organization called Creative Time. We did electronic music and art events under the Brooklyn Bridge. I kept asking Rich to do a show with us, and it never worked out. But we ended up talking about common interests and hung out whenever he was in NY. Eventually we started doing projects together. It wasn’t until a couple of years ago that he asked me to join the label as an artist. That was the beginning of a different phase of my life, but our friendship definitely influenced me tremendously.

Deepak: How has the move to berlin pushed your career along?  did you think twice about it, or was it an easy decision?   why do so many artists flock to Berlin?
Ambivalent: It definitely wasn’t an easy decision. I moved to NY in 1996, so it feels like home. I loved my life there, and would have loved to stay. But ultimately there was no way to make a living on my music and still pay a New York rent. Being in Berlin has made it possible to focus on my music rather than a day job. I also love European audiences and their dedication to this music culture. People recognize your work more clearly and appreciate it differently. There are great audiences in North America, also, but it seems that things take hold more slowly in the US.

Deepak: Do you have a favorite gig from this year you can tell us about?
Ambivalent: There are a few that stand out. I just played with a bunch of other Minus artists in a Contakt show at Brixton Academy in London. Piknik Electronik in Montreal was awesome. A great show at Cocoon club in Frankfurt and also the Monsters of House festival in Munich.
One of my favorite gigs was on a Sunday afternoon in an abandoned warehouse in Hamburg. The guys who do this party are so cool. They made this massive space feel so intimate just by propping these shipping containers around the space, and then they had people in furry animal costumes running around…it just felt like the kind of thing where there’s so much love put into a really underground event. That’s the stuff I keep hoping to see more of…

Deepak: Do you miss NY, and anything in particular about the city?
Ambivalent: My girlfriend still lives in Brooklyn, so I go back pretty often to see her and she comes to Europe pretty often as well. That tends to keep me from getting homesick. Of course there are friends who I miss, and certain things that I rush to when I get back. Namely good mexican food. One thing that you don’t get so often in other cities is the busy streetlife and people watching. I was in Paris this summer and a bus blew smog in my face, and it actually made me miss New York. That sounds so twisted, doesn’t it?

Deepak: What are a few differences and similarities of the scene in Berlin and NY?
Ambivalent: Well, the music scene in Berlin is different than it was a few years ago. I think it’s changed because so many people have heard the legends about certain clubs, etc. So now there seems to be a pressure for things to live up to. There are definitely nice things about being in a city with so many clubs and DJs that you can go out any night of the week and hear someone really good. The flip-side is that you don’t have the same excitement as you’d have in a so-called “smaller” scene. The NY parties I’ve been to since I left have really impressed me with their energy. I think it’s getting better all the time.

Join me in welcoming Ambivalent back to NY as he DJs our final Hidden Recordings Residency Night of 2009 and Halloween Eve Special on Friday October 30th!

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Exclusive Audio Interview with Alex B from The Pnuma Trio

Interview | From the mind of johng | 10/20/2009


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Resonant Vibes is very excited to give our readers an exclusive audio interview with Alex B, bass player and producer, for the band The Pnuma Trio. (Click the play button below to have a listen)

I first mentioned The Pnuma Trio to the Resonant Vibes community back in my original Livetronica blog post. The band formed in Memphis Tennessee around 2004 and moved to Boulder Colorado where they now are proud to call STS9’s super hot indie label, 1320 Records, home. The trio is comprised of Alex Botwin on Bass, Ben Hazelgrove on Keys, and Lane Shaw on Drums. They consider themselves to be an electronic band who uses live instrumentation to create forward thinking compositions with a high energy electro feel! Download a free live show of the band performing at Red Rocks Amphitheater in Colorado by going to The Pnuma Trio’s profile page in the Resonant Vibes Network .

Alex B is also a superb DJ, who is heavily involved with the Electronic Music Scene when he is not on the road with The Pnuma Trio. He has made quite a reputation on the live scene for his deep glitch-informed hip-hop sound and recently released a mix called “Brian Food” for Flying Lotus on the Brainfeeder record label which can be downloaded for free right HERE. Also check out several other mixes & tracks by going to Alex B’s profile page in the Resonant Vibes Network.

The Pnuma Trio is a powerful leader in the live electronic movement. They are doing everything they can to bring Electronic Music to the masses by merging the rock/jam culture with that of the DJ club scene. Check out both The Pnuma Trio and Alex B on tour right now!

John “The Grizz” Grisanti

 
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2020Soundsystem: Exclusive Resonant Vibes Interview

Interview | From the mind of Seth | 10/13/2009

2020Soundsystem
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Falling is the second album from 2020Soundsystem, one of, if not the band to see if you’re looking for a true amalgamation of electronica and live instrumentation. 2020Vision label boss Ralph Lawson and company (Danny Ward, Fernando Pulichino and Julian Sanz) follow their first and well-received release No Order with a funky, cohesive statement. The “sophomore slump” has clearly skipped the boys from Leeds. They will be touring this fall to support the album, and are even playing some US dates. I’m going to try to make it to the Chicago show, so if you’re going to be there, let me know and we’ll get together and make new friends. If you’d like some mood music while you’re reading the interview, check out the mix here for a taste of the 2020Vision sound.
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Q: From a performance perspective, what was the most difficult aspect of integrating live instruments with the decks? When you were starting 2020Soundsystem, did the DJing need to become looser, did the instrumentation need to become tighter, or did you need to meet in the middle?
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A: The hardest thing to integrate live musicians is always getting the sound right. We have got much better over the years but we have had some soul destroying sound-checks. We often can’t afford to travel with our own engineer so we are at the mercy of what the venue provides. When we first started it was a unique set up, now soundguys are becoming more accustomed to bands with DJs but they always take a lot of convincing about how we want to do it. If we can all hear clearly on stage and the monitoring is tight we can play so much better. As for the second part to your question it is for sure that the DJ-ing has to be super tight. Musicians are only human and you don’t want to lose that dynamic from the mix so it’s up to the DJ to be rock solid.
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Q: Did/do you have to make any special arrangements to accommodate turntables on stage with lots of loud instruments to prevent everything turning into a big ball of feedback (or any number of other undesirable acoustic phenomena)?
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A: I started out using turntables and you are right it was really tough dealing with jumping needles and feedback but I moved to Ableton Live around 2004 so we haven’t had those issues since then.
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Q: Do you have any fun stories about confused soundmen trying to handle your set up?
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A: Haha I hadn’t read this one until I already answered above. Our record soundcheck was in Barcelona when they took 9 hours to set us up – it really isn’t that hard. I don’t find them funny I nearly start crying.
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Q: When you started booking 2020Soundsystem gigs, did you meet any resistance because you weren’t a clear-cut “band” or “DJ”, or at that point had you made enough inroads that it wasn’t an issue?
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A: Yes we have had it both ways. At first the indie kids saw a DJ and turned their noses up and the (more…)


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Exclusive Interview with D. Ramirez

Interview | From the mind of Eddie | 10/09/2009


 
D. Ramirez is a pillar of the dance music community, and I had a chance to catch up with him for an exclusive interview. Enjoy!
 
Q: I read your bio in a few places online, but I didn’t gather much about the earliest stages of your dance music career. Can you tell me how it all got started and which artists influenced you in the beginning?
 
A: I’ve always been into electronic music. My influences were bands like Kraftwek, Depeche Mode, Yazoo, The Human League, etc. Their sounds inspired me to start making my own music and collecting synthesizers. I’ve been making music for 26 years now, and my first proper release came out in 1991. It was a track called “Candlelight” that I produced under the name Cordial. Back then, I had no money so a friend of mine decided to loan me enough cash to press up 500 white labels. I had to go to the pressing plant myself to pick them up, and I had to distribute them myself out of the back of my car. Also, I was going to a lot of clubs back then, and I would take the vinyl along with me to hand out to the DJs personally. The track started to get loads of play in the clubs, and off the back of that it got signed to a label. After that, I started releasing a track every month under various names until one day I was working with a DJ friend of mine called Neil Hinde, and we ended up sampling an old disco record by Musique called “Keep On Jumping.” The next thing we knew we were on Top of the Pops as The Lisa Marie Experience with the single “Keep on Jumping” at number 5 in the top 40!
 
Q: You’ve produced an abundance of acclaimed music for a wide range of labels. If you could direct a new listener to one piece of your work, what would it be and why?

A: My favorite piece of music that I’ve made is The D. Ramirez remix of Roger Sanchez’s “Lost.” I think the reason I like it so much is because it’s as near to perfection as I have ever been with a production; it’s a track I can listen to and just enjoy without thinking I could have done this better or that better.
 
Q: You’ve made a stylistic shift of late. What pushed you away from the electro house sound, and what pulled you toward the techier end of the spectrum?
 
A: Electro house was new and exciting when it first appeared on the scene a few years ago, and I fully embraced it. Hell, I think I even helped to pioneer it to some extent with my remix of Bodyrox “Yeah Yeah.” The problem was it became too commercial and watered down; everybody started to copy my sound, and there would be tracks in the charts that sounded like a bad version of what I was doing. I knew the electro (more…)


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