Posts Tagged ‘Interview’

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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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Way Out West – Resonant Vibes Exclusive Interview

Interview | From the mind of Seth | 09/15/2009

Way Out West Interview | Resonant Vibes

Since the release of their self-titled debut album in 1997 (and before) Way Out West (Nick Warren and Jody Wisternoff) has been ever-present in the world of dance music (and beyond). In addition to their acclaimed albums and live sets, WOW songs have been included in soundtracks, television shows, and even video games. Ever the diligent workers, when not doing WOW projects, the two can be found playing sets around the globe, doing mixes for the likes of Global Underground, creating innovative sample packs, and generally taking care of business. Their latest album We Love Machine is a sonic treasure-trove for lovers of vintage analogue synths. Nick and Jody were kind enough to permit me an interview to discuss the album, the gear, and the scene.
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Q: This is the first Way Out West album to be recorded in your own studio. As I believe you’ve said, freedom was the biggest advantage. Conversely, the mixing environment wasn’t quite what you were used to in a full-blown studio, and if something went awry, if was up to you to fix it. Other than the glaring differences, what else was unique about the making of We Love Machine?
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A: JW – The last 2 WOW albums were mixed in an SSL studio with the help of an engineer, but since then I’ve learned a lot about ITB (in the box) Pro Tools mixing techniques and have done many final mixes for my solo material which I am happy with, so I felt confident enough to carry out the task at home. Robert Babicz who mastered the album gave me some very helpful advice along the way, and after investing in some new outboard equipment and a lot of listening hours I think I achieved my goal. Apart from this, nothing was especially unique apart from the fact that we collected a bunch of old synths and also worked exclusively with a male vocalist Jon Mendelsohn.
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Q: Given the helical path of your working relationship, had anything changed when you met up in the middle and returned to the studio?
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A: NW – It always works very well. We have a great understanding and respect for each others ideas and always seem to tread the same path when we work on the next WOW project.
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A: JW – Not really, because there was never a time when we were not working together. I kicked off my solo career 3 years ago, but this doesn’t mean I put WOW on hold. We would still meet up on a regular basis and get our heads together. The only difference really these days is the ability to work out ideas on the road more efficiently, and bounce stuff back and forth so that when we collaborate in the studio we are more prepared.

Way Out West | We Love Machine | Resonant Vibes Q: Looking at the album as a whole, the first few tracks “We Love Machine” and “One Bright Night” and some of the more ambient tracks interspersed throughout the album represent what I expected to hear on this record. I wasn’t expecting some of the disco in the second half, but quite enjoyed it. Three tracks, to my ears, stand out. “Bodymotion” feels like a nod to the new wave of the 80s. “Future Perfect” and “Ultraviolet” which are my two favorites from the album, feel like two sides of the same coin. Were they written in succession? Can you talk about what you wanted to achieve with those songs?
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A: JW – Ultraviolet was written way before actually. It was initially called Jupiter, and this is because it was the first track I wrote when we got the classic Jupiter 8 synth. It was always a dream of mine to get one, its such a great synth for those sharp techno style stabs, and we’ve ended up using it all over the album. Despite being over 20 years old, it still seems (more…)


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Christian Smith: Exclusive RV Interview – Album “Platform” out September 7, 2009

Interview | From the mind of Seth | 09/02/2009

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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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total_dep_coverQ: 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 (more…)


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Interview with Cosmo Vitelli

Interview | From the mind of Seth | 07/10/2009

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Cosmo Vitelli’s I’m a Cliché records is in the midst of a 5 year celebration. To mark the occasion, a compilation called Moments of a Crisis has been created. I received a promotional copy of Moments, and have a blast every time I listen to it. The thing that struck me most about the compilation is how seemingly incompatible tracks are effortlessly woven together to make up two stellar discs. Many lessons for genre snobs and sticks in the mud reside within. Mr. Vitelli was kind enough to agree to an interview, which I suspect you will enjoy. His insights make me think he’s my kind of guy, and hopefully yours as well.

Q: What made you decide to put together Moments of a Crisis?

A: First, after 5 years, the moment had come to give a new life to some of our old releases. The second reason was that it takes so much time and energy to release 12” or E.Ps, and there was so much exciting music around to be put out, that a compilation was a very practical way to release them all at once, and give a precise idea of the identity of the label. A double CD compilation was the perfect format for it.

Q: This release strikes me as a record to which one could easily dance, but I probably wouldn’t call it a straight up dance record. Is this fair and perhaps indicative of an over-arching theme of your operation?

A: Indeed. The idea was not to make a dance music compilation (I’m not even sure I know what Dance Music is – you can dance to so many things). The concepts of styles and genres have always been boring to me. The more I listen to music, the less I want to know in which playlist of my iTunes I should put it. All the DJs I’ve liked, pioneers or from today, feel more concerned with the energy the music can bring than with the styles.

For this compilation, I collected a lot of tracks from people I liked and my only ambition was to choose the ones that could fit together. I wanted both CDs to be surprising and original but always coherent. We don’t feel any musical direction is forbidden to us if the project has something special which deserves to be released. (<-- Editors note: I'm fairly certain that such a view, were it to be shared the world around, would bring forth a new age free from war and strife. Ok, maybe not, but how cool would that be? I dig your style Cosmo)

Q: Could you tell me about “Purple and Green” and why it was chosen as the first track of the second disc which, according to the press release for Moments of a Crisis, “is all about brand new tracks exclusive to this compilation”?

A: On the second CD called “Holidays,” I tried to build a progression. I had a lot of tracks and I couldn’t put all of them on there. I didn’t want the CD to be only a collection of songs, but wanted it to be nice to listen to straight through.

I had known Electronicat for years, but we hadn’t seen each other in ages. I happened to play with him by chance a few months ago in Belgium and he started with this beautiful song “Purple and Green”. Straight away I asked him if I could release the track.

It was a perfect way to start the compilation, with its surf guitars coming straight from an Angelo Badalamenti soundtrack. I knew that I’d have to go into a more “rockish” direction later, with such tracks as the “It’s a Fine Line” or “The Fear”, so it was a great way to start it.

Q: Moments of a Crisis marks 5 years of I’m a Cliché. If you could go back to the beginning and give yourself 1 piece of advice, what would it be?

A: Sometimes, the best music of the world doesn’t deserve all the sacrifices you could do to make it exist.

Q: As a label owner, what do you look for in new talent? Could you estimate the breakdown of commercial viability vs how much you like the artist? Are there other factors?

A: It’s quite abstract. From the beginning I’ve decided I’d try as much as possible to release music I’m proud of. Sometimes you don’t succeed and the record doesn’t sound exactly like what you expected. It can happen.

But, first of all, with every release I try not to forget that music is the essential and most important thing. It seems obvious, but in a crisis environment, it’s far from being everybody’s priority. From that, with my label mates we try to make the records find their public. I’m not that special: if I like a record, I think that some other people could, and that’s our goal – to reach them.

Q: What are the best and worst aspects of running a record label?

A: First, I’m a musician, producer and DJ, so I have less and less time to do what – I think – I’m made for: music. It’s a full-time commitment. And financially, it’s possibly the worst time in recent history to run a label.

But the good side of it is the dynamic you create around the label, the projects it makes possible, the connections it brings. It’s far from the isolation you can feel working alone in your studio as a producer. The independent side is very important too. Running a label makes us able to release the records we want to release, when we want to do it, doing the promo our way. It’s got a heavy price, but it’s a great luxury.

Q: The electronic music industry has, to a large extent, managed to operate outside the reach of the mainstream major record industry. Do you think it will stay on this path?

A: It’s a strange situation right now: music is more or less completely free today, so the viability of an independent label (as for major companies, fair enough) is miserable. But the possibilities of diffusion given by internet have become almost unlimited, and the fall of the production costs – especially for electronic music – turns everybody into a potential producer. It’s a tough but exciting moment to run a label, there are lots of exciting projects to promote, and it won’t be done by anybody other than a small label.


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Exclusive Interview with Nervous Records Founder Mike Weiss!

Industry Stuff News and Events | From the mind of Eddie | 01/14/2009

This is definitely one of the juicier posts I’ve had the privilege of writing recently…

This week, Resonant Vibes was able to catch up with Mike Weiss for an Exclusive Interview. For those who don’t already know, Mike is the founder of Nervous Records, an absolute pillar of the New York City electronic music scene. A graduate of Stanford and a lawyer by training, Mike actually moved back to NYC in 1989 and was transformed by the burgeoning club scene. In the years since, he’s left his mark on our industry, and he’s continuing to take electronic music to new, notable heights with a string of ongoing and future projects.

We were really pleased to get Mike’s candid thoughts on some interesting points, so I hope you enjoy reading the interview!

RESONANT VIBES INTERVIEW OF MIKE WEISS:

RV: Nervous Records has a long and fascinating history, being formed in New York City in 1991 with an initial focus on East Coast house music. How would you compare and contrast the East Coast house music scene today with the scene back when you got started?

Mike: Back when I started, New York felt like the center of the universe for the club scene. Before London blew up the “super club” concept, we had massive clubs in New York and just took it for granted. We didn’t even have to call them super clubs….The World, Palladium, Tunnel, Limelight….etc. And there were a lot of  weekly residencies…so for example, Dave Morales was at Red Zone every weekend, and you could bring him the types of records he liked playing and could buzz it up from there. Louie Vega was at Sound Factory Bar on Wednesdays. Tony Humphries was at Zanzibar in Newark. Keoki was at Limelight. Now, there are really no weekly residencies like that, where the crowd and the DJ are in synch with a certain kind of club music. I still regularly hit spots like Pacha and Cielo, but the marketing for any specific track obviously is a lot more based on Internet marketing. And there is obviously much more access to DJs outside of New York through streaming. I have great memories of the NYC club nights of the 90s, as there was definitely a stronger community back then. But times change; now the community is more global, and that’s nice as well.

RV: Given your label’s longevity, it would be interesting to hear your perspective on the future of the electronic music industry. Do you think electronic music is growing in popularity? Do you see a bright future for electronic music, or do you think the scene’s best days are behind us?

Mike: I think the best days are ahead of us. To me, the essence of all club music (electronic, house, disco, etc.) is the clubbing experience. And whether you’re in your car blasting tunes, or working with your headphones on, or chilling at home, or actually in the middle of  a dance floor, it’s all about giving yourself the thrill and pleasure of hearing something amazing and sharing that experience with others. Technology is going to make that more and more possible. Eventually I’m sure big and small clubs will be wired to the max with cameras, and you’ll be able to experience clubs all over the world on your computer in real time.

RV: Nervous Records has gone through several phases in its lifetime. At one point, your focus was actually hip hop. Is it difficult having a history of dealing in multiple genres?

Mike: No, it makes things that much more interesting. My musical tastes have always been diverse, but the one common aspect is that they tend to sway toward more underground sounds…whether that is the grimy hip hop that was coming out of Brooklyn in the 90s (Black Moon, Smif-n-Wessun), or the minimal sounds of early Josh Wink tracks in the 90s, or the sample filled house tracks that were big in Jersey and Chicago in the late 90s (Byron Stingily, Kim English) , or the deep and tribally sounds currently being produced by Oscar G and Raph Falcon. And I’ve been fortunate that at least once in a while, something that at first is underground is then granted some commercial success, which allows us to continue to be experimental and open-minded in signing tracks that often don’t have any initial commercial base.

RV: Your label has an exciting road ahead with the release of Nervous Nitelife Series: House Classics Remixed scheduled for February 10. What was the inspiration and motivation for this release?

Mike: It seems that, at least for the large media, the spotlight has moved away from the American House Music sound. So I feel now is a good time to start bringing it back out, as a lot of newer fans who are listening to the music coming from Europe don’t know how much all the new producers are influenced by what was happening in New York, Chicago, Detroit, and Miami a couple decades back.

RV: With so many “house classics” in the archives, how did you pick out the ones to be remixed? Who made the actual selections?

Mike: I wanted to get someone who had a knowledge and legacy of house music, but who had never previously been affiliated with Nervous…so I could get an outsider’s perspective on some of the more classic tracks and thereby hopefully create some exciting remix combinations. That’s exactly what happened here with Marlon D. He made the track selection and remixer selections. 

RV: Looking a bit further ahead, what else on the Nervous Records agenda? Do you have any other big releases in the works for 2009?

Mike: Absolutely!  February 3rd is also the release date for Josh Wink’s When A Banana Was Just a Banana. On March 24, is Nervous Nitelife: Miami 2009 mixed by Armand Pena. Then comes the spring…and two projects I’m really excited about! The Debut album from Chris Lake, which is amazing. To me Chris has all the best elements of the producers who have blown up over the past year…he combines the sonic flavor of Deadmau5, with the songwriting abilities of a more commercial guy like David Guetta, with the soulful essence of Axwells’ best tunes. That is coming in May, and then in June is the next Oscar G album, which will be a double CD (one CD will be mixed compilation, one CD will be original Oscar G tracks, and also there will be a DVD in the package. DVD filming takes place Sunday morning January 25 at 4:00 on Space’s Terrace.

RV: You’ve obviously had a significant impact on the electronic music scene. When it’s all said and done, what do you want the legacy of Nervous Records to be?

Mike: I would really like Nervous to represent a certain era of  music….Chess Records in Chicago in 50’s, TK Records in Miami in the 70’s….Def Jam in New York in the 80’s….right now I think a lot of people affiliate Nervous with New York in the 90’s. We had a big DJ Magazine cover in 1993 that said Nervous – The Sound of New York, with Black Moon, Loni Clark, and Nuyorican Soul on the cover. But I guess I’m now shooting for having a rep in a new decade, and a new sound to connect to. Time will tell if we can make that happen!


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Paul Dailey’s Guest Mix for the Shake Down Podcast

News and Events | From the mind of Eddie | 09/15/2007

DJ Paul DaileyFor those who aren’t yet subscribed to the Shake Down podcast, I wanted to let you know that Paul Dailey put together a guest mix for the last episode. It’s really good stuff! As an added bonus, Paul gave an interview that provided insight into the mix and details about his upcoming gigs. You can check out Paul’s interview and mix by subscribing to the Shake Down podcast via iTunes or by downloading it at www.ShakeDownPodcast.com.

Enjoy this mix from Paul, and be on the look out for more guest mixes to come ;)

Eddie B

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Informal Interview of Deviant

General | From the mind of Eddie | 08/04/2007

Deviant - Electronic Music DJA while back, when we were adding Deviant as a DJ on our site, we actually conducted a brief, informal interview to get some further insight into his take on things. We never posted his interview so I figured I’d make it available here for our blog readers ;) Enjoy!

Q: Progressive house seems to come under an increasing amount of fire these days. What’s your opinion on the current progressive scene, and do you think it will ever get back to being as popular as it once was?

A: Music is music, and you either are into certain styles or not. What perplexes me is the vehemence with which former progressive fans talk smack, whereas the progressive DJs and producers I know embrace other genres in their sets and productions. They are more inclusive, while the smack-talkers have become exclusive.

The whole “genre” thing is a wash, anyway.  What’s known as progressive today bears only a passing resemblance to its former self from even one or two years ago as it becomes increasingly hybridized.  Interestingly, what would have been called progressive years ago is often found today in the minimal or deep-house sections of your local music store.

As far as progressive ever reaching the prominence it enjoyed – I’m not sure it really matters. There are a lot of people who love, enjoy, and are very passionate about the progressive scene, and when that feeling resonates with others, it perpetuates. Progressive ceased being the prominent genre when clubs, labels, and big-ticket DJs had to figure out new ways of making money. Progressive is no longer the genre of the big weekly or the big headliner. It is now the genre of the underground, with the tips of its ears poking out above ground. All you have to do is listen to FriskyRadio, click around Myspace, follow label websites, or read reviews in magazines like Mushroom to know that it is not just surviving, but thriving under the radar.

The global transition from a rave to nightclub culture has also contributed to a shift in the music needed to accommodate the tastes of a less underground, more casual clubber audience.  Deep, trippy music like progressive often does not play well to many amped-up nightclub crowds, fueled by alcohol and a quest for copulation.  That doesn’t mean that progressive is no good as music; it just may not be the right music for a particular audience.

For me, evolution does not mean simply shitting on music that you loved last year in favor of a whole new crate of tunes. I rarely hear headliners dig back into the archives for a truly “progressive” set.  Many of the younger people in the scene today forget that what brought them here in the first place was trance, followed by progressive.  Are we to be ashamed of the music that we once loved?  Are fans of those music somehow less evolved?  Nonsense. You know what truly moves your soul and, in my opinion, stay true to it.

Q: Do you have any sort of formal musical training?

A: I am self-taught.  I would like to learn an instrument…is it too late to learn the violin?

Q: What are your top labels/producers to watch out for in 2007?

A: I’ve always liked the stuff on Arktikism – deep grooves on the border of house and progressive.  FeralCode, No Smoking, and Tilth have also been putting out solid stuff.  As far as producers, I think that the guys on Toes and HeadRush are due for big things beyond our labels.  A lot of the artists that we helped break over the last few years are continuing to shape the dance scene, such as DJ Tarkan, Eelke Kleijn, The Last Atlant, Nick Hogendoorn, Moonbeam, Pablo Roma, Alican & Soner, Siberian Son, and Silent Brothers.  I expect the same to happen for the artists whom we’re releasing this year: Johan Vermeulen, Rasti Tkac, Downkill and The Scrubz, Matthew Adams, Rob Curtis, Peter Corvaia, and Josel and Pedro.  All of these guys are so tremendously talented and are just going to keep getting better.  Also, two of our recent remixers, Royal Sapien and Pete Lunn, are poised to explode this year.  And Guillaume Nyckees, the host of the Galaxie 95.3 FM show in France, has been steadily making his presence felt in the production arena.

Q: How did you record the mix you did for Resonant Vibes? What’s your typical DJ set up like?

A: I am constantly experimenting with the setup to try to get it sounding better.  Right now, two CDJs connected digitally to my Numark PPD9000, then out via XLR to my Yamaha console, then out via optical ADAT to my Pulsar Scope card into Wavelab.

Eddie B


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