Brandon Bass had a chance to catch up with Pretty Lights (AKA Derek Vincent Smith) for a great interview to talk about his new record, giving it away for free and his creative process. For anyone who wants to check him out live he’s performing at Movement 2010 in Detroit this weekend.
.
For more information on Pretty Lights or to download some of his music visit prettylightsmusic.com.
.
If you keep an eye on the line-up for this years Movement Festival you’ll notice only a handful of females on the bill. There are several smaller female artists and then this years front ladies like Cassy and Magda and also Ida Engberg.
.
Engberg, a Swedish blondeshell and highly talented DJ has enjoyed a sudden rise over the last couple of years thanks to her skills behind the decks and the game-changing success of her track Disco Volante. (See, it can be done kids!). Now she features regularly at Adam Beyer’s Drumcode nights, and is establishing herself as a worthy international headliner. We thought we’d catch up with her before her show at Movement to find out a little more…
.
You’re from Stockholm. Can you explain how you got your first gigs there, and for anyone visiting Stockholm what clubs do you recommend?
.
When I started to DJ in Stockholm I was just 18. It was a friend who was running a bar, and the DJ called in sick so he didn’t have one so I just jumped in for somebody else.
.
That was my first gig and I finally got the residency there and they fired their old DJ so they apparently liked it a little. Then I played in smaller bars and clubs and then larger clubs, then I moved to Spain and I was living in Ibiza and I was playing there for a while. (more…)
Back in 2006, I came across a mix Hybrid created for John Digweed’s Kiss 100 radio show. I had never heard of the group before, but their mix changed my relationship with the breaks genre. I went through a bonding experience with the mix (as is my tendency with quality dance music sets). Over the years, I’ve watched Hybrid evolve and flourish – putting out new releases, playing premier gigs, and enjoying their fair share of the industry spotlight. Now, roughly four years after my first exposure to Hybrid, I’ve had the opportunity to interview them and to ask some interesting questions. This interview comes in conjunction with the release of Hybrid’s new album, Disappear Here. Enjoy…
Q: This is a fascinating time for a Hybrid interview. First off, you recently made a big change by adding Charlotte [James] as a member. Can you all talk a bit about how and why this came to be?
A: This was the next step for us to get some really good songwriting talent on our music. We really wanted to show ourselves and the fans how much more we can do with the Hybrid style, and adding Charlotte was the missing link for us. Ever since the days of Wide Angle, we have been looking to get some real songs back into our music. With Charlotte on the new album, we really think we’ve done something that will stand the test of time and be looked at as something much more than dance music…
Q: I trust you’re all excited about the release of your most recent album, Disappear Here. How would you compare and contrast the album with your previous works?
A: This album really pulls together all the great work we have done over the last 15 years. From the film work and the orchestral side, to the crazy twisted sound design and the darker underground club style, this album sums up all of those things in one package. We feel as if we’ve really turned a corner with our production, and the balance of everything we’ve learned shows itself on almost every track here. It almost feels like this should be our last album ever, our finest work, but we also know this is the start of something else…something new and exciting for us…and by the look of it, exciting for everyone else as well. Come on album 5; we can’t wait to get started and see where that takes us!
Q: What role did each of you play in the development of Disappear Here?
A: [Charlotte] Where a track starts and ends varies from one to the other, but all the tracks use our combined skills to get to the end result. For example, on “Disappear Here,” the track started out because Chris had messed about with some strings and created a gated beautiful set of four chords. I snatched them from the palm of his hand and sped off to my studio to write the rest of the song on piano and guitar and add the lyrics. Mike then took those parts and ran back to his studio adding the drum programming and additional production and then we all stood around Mike’s computer debating on how the arrangement should go and what should be where…. Generally, I do live instruments, songwriting (more…)
.
Infected Mushroom needs no introduction. This amazing live electronic-rock dance floor machine has been melting faces for years, and continues to push the boundaries of EDM every time they head into the studio or take the stage! This past September, the group released a new album called “Legends of the Black Shawarma” which once again takes the group into a different musical realm.
.
Resonant Vibes recently had the pleasure of catching up with lead singer and co-creator of Infected Mushroom, Amit Duvdevani AKA Duvdev, about the new album and a variety of other subjects.
.
We hope you enjoy this exclusive audio interview with Duvdev!
.
John “The Grizz” Grisanti
.
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…)
Shem 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!
.
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!
.
Q: How did living in Thailand for the past two years impact you personally and your musical style?
.
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.
.
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?
.
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.
.
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.
.
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?
.
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.
.
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?
.
A: For now the former, but I am open to the latter. But always in Thailand 
.
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?
.
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.
.
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.
.
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?
.
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.
.
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?
.
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.
.
Q: What has been the most important moment in your music career thus far?
.
A: Making the decision to come out here, and start my new life.
.
John “The Grizz” Grisanti
A 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.
.
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:
.
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’.
.
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.
.
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.
.
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.
.
.
Check out interview after the jump. (more…)
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!
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…)
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.
.
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.
.
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?
.
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.
.
Q: Can you describe the creative process you went through to produce your new album “Obsession”?
.
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:)
.
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?
.
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.
.
Q: How have your formal musical training and education influenced your DJ-ing and production?
.
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.
.
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?
.
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!
.
Q: What changes and shifts have you witnessed in the dance music scene over the past few years? What are the new trends?
.
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.
.
Q: Have you found any new pieces of equipment that you enjoy using in the studio or on the road?
.
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!!
.
John “The Grizz” Grisanti
Add RV RSS Feed
|
|
|
Welcome to ResonantVibes.com, a community dedicated to sharing quality
electronic music with the world by uniquely blending
the elements of a digital music store, a blog and a free,
content-
based site.
© Copyright 2012 Resonant Vibes.
All rights reserved
