John 00 Fleming: Nine Lives interview part two

In part of two of D.M.M's three part interview with John 00 Fleming we delve into his J00F Editions tour concept.

In John's own words, J00F Editions, is about "returning the club to the clubbers." Here's what he had to say...

Renowned for his darker edged style J00F’s music has a texture which sets him apart from the cookie cutter mould. It’s this unique mould which has also shaped his J00F Editions tour concept.

J00F Editions, John says, is solely about the music for music lovers. It's not the guest list, not the pyrotechnics, and not the stage dancers. And it is definitely not the DJ’s ego – which he argues has largely overshadowed the scene to wilt clubland and lighten punters wallets.

"The concept was a difficult one for promoters to initially swallow because it’s the opposite of what they’ve been conditioned to over the last ten years, what with the big television screens, fireworks and fluffed up shows. I’ve gone right, get rid of all that and let’s move the DJ booth off the stage. Let’s keep it dark, with really long sets and minimal distraction, let’s play it on a rocking sound system which recaptures dance’s essence back onto the music,” he implores passionately.

"It was really challenging at the start, slightly less so now, and so far the feedback has been tremendous. The best reaction has naturally been from the clubbers, they’re hanging around the entire night, enjoying the musical ride benefited by the long sets. And the crowd isn’t glued to the booth; they’re facing each other, heads down dancing, ripping it up. Essentially, I’ve tried to recreate what it once used to be.”

No one says it as plainly as John.

And nothing says John more than than this Nine Lives floor pumper: Baphomets Horn...



Keep groovin'

DC

Marco V: He's come and he's gone but the music stays with you

In the second part of D.M.M's interview with Marco we continue where left, jumping straight into his quest for musical perfection:

“Right now I’m currently redoing Scenario for re-release as its first go didn’t do for me what I really wanted. This time my aim is to give it a more edgy flow, in a more similar theme to Predator.”

In taking this evolving ‘it ain’t over till that fat lady is belting it out to the back row’ approach to a seemingly new level I questioned this. What I got back was a typical Marco like humble reply, “This is actually the first time I’ve ever done it this way. Normally I do a track, release it, and tweak it here and there like I did with Predator.”

“But with Scenario I was unsatisfied. I love the vocal so what I’m doing now is taking the voice and putting it into something totally different, to see how it works. Musically there are always so many variables, and when you really believe in a song you’ve got to go back and hit it from another angle.”

It seems music to Marco V is an everlasting ephemeral paradox. In what sounds like a personal growth experience he continued, “I’m always reading feedback on my website and analysing what people send me. I never dismiss it. I’d been getting many remixes of this particular track and it made me take notice, so instead of letting the track go and focussing on something else I delved back into it.”

And back into he is. With a helter skelter schedule of studio and gigs Marco is always on the go. “I’m really busy but I’m really disciplined with it. You’ve got to be. I’ve just had a studio built in my house so this keeps me from sleeping the day away but I’m doing something I really love so I don’t really work a day in my life.”

It’s with these wise words that Marco V reinforces his integrity as a DJ. His dedication it seems is to never rest on his laurels but to openly embrace a never ending edict of improvement. An improvement it seems that has us finally being aurally gobsmacked by the musical force that is Creamfields. Look out dance dudes and girls this field of dreams is uncovering something entirely new.

And new indeed. Check out the remix of Scenario:



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DC

Marco V: Creamfields Australia call-to-action

The Creamfields festival juggernaut hits our shores next month and flying its flag high is none other than Dutch DJ Marco V.

In a two part series D.M.M. interviewed the Netherlands native to find out what he's most pumped about and to chat on his latest album release Propaganda V2:

Should the sound of racing dance be your thing then Marco V is your Formula One driver. Encompassing a heady fuelled mix of electro-house, progressive house and progressive trance he combines a soundscape which rides as smooth as a Prius wrapped in muscle car like handling. Spinning into Australia next month to celebrate Creamfields inaugural tour D.M.M. went for a few laps with The Netherlands native.

“Creamfields is going to be mammoth. I have a great history with the festival and to be involved in bringing it to Australia for the first time is a 2010 highlight. It’s been 12 months since I was there last for Trance Energy and I had a blast. I’ve been doing a whole lot of smaller club gigs so it’ll be nice to cut loose again with a big room ambience.”

The contrast of playing the festivals versus the more intimate club gigs is a balancing act on most DJs turntables and I asked Marco on their differing dynamics and how he approached them. “When I play on the big stage I like to quickly pump it up with the big sounds, while in the clubs I trend towards a darker edge. The big room energy gives me a magical peak but equally the smaller club is a nice change as it allows me more creativity. Together, the combination works well as it emulates my manner in many ways, and I naturally like to travel these two roads in my production style.”


It is this reputation defining production style which has the likes of Above & Beyond and Armin regularly dropping Marco’s tracks with stompers such as When The Night Falls that keeps the unassuming DJ in the CD wallets of an esteemed crew. Much more, it has culminated into him winning the prestigious ‘Best Tech House DJ’ at the DJ Awards in Ibiza last year. “That was a total surprise. I have always tried to play as many styles as possible in my sets and radio show and I guess the tech must’ve been loudest,” he quipped.

The tech house Marco describes lives large in his latest release, Propaganda V2, and in addition to this moniker one could easily double tag it as an album of collaborations. Predator and Scenario are two such tracks fitting this bill with Marco describing the peculiar way in how he teamed up with English vocalist Khashassi. “It’s very funny story. Ben, my studio mate, met her playing World of Warcraft online. They got chatting, she ended up sending us some demos which we really liked, so we invited her over and these tracks are the result.”

For me, Predator is a killer, with Khashassi’s voice having a Nadia Ali like wispiness (think Rapture by iiO) devoid of the usual trance vocal cheesiness common to the genre. The solid bass also dimensionally delivers mid through to give the piece some real hypnotic substance. Asked on its big room feedback Marco said, “Everyone loves her voice and a lot of people are asking me who is that girl? I’ve also just done a new remix which is more in tune with the dance floor than the album version and the results have been great. I’m really looking forward to dropping it in Australia.”

Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with Marco V, where we continue the chat on his album and on what he's mixing next.

Until then enjoy some boom crash moments with Marco and Khashassi's collaboration Predator:



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DC

Pete Tong: Movies, mixing, and more...

In the second part of D.M.M's interview with Pete we delve into his latest foray into film, his new website and on mixing digitially:

While on the topic of new big things Pete also outlined his latest projects: his contribution to the score on the feature film, Harry Brown, and the going live of his new website http://www.petetong.com/

“It’s directed by Daniel Barber and stars Sir Michael Caine. It’s a hard and dark film, but is has a real message, and we did about fifty percent of the soundtrack. I like this field as it has both similarities and differences to DJ’ing. Similar in that you’re picking the right music for a mood but different because you’re putting music to scenarios which are less organic to a live crowd,” he muses.

“Film scores is something I’d like to do more of but it’s a difficult world to break into, particularly when there’s so much money at stake. It’s a steady climb, and this one was far different from my involvement in other films such as 24 Hour Party People and It’s all gone Pete Tong. But I’ve now developed a good rapport with the team at HanWay films and I’m working on something new with them right now.”

As to the overhauled website Pete laughs, “Yeah, you caught me. It literally went live today. It used to sit on a record company’s server and we finally had to chance to move it, social network enhance it and fire it up.”

With longevity in the game going way, way back I questioned Pete on how he kept his perspective fresh.

“It’s enthusiasm really; if I was bored it would come across as such. I’m fidgety, hungry for change and on finding new things, whether it be a new single or new talent. It’s a simple formula really and it ties in with the joy and passion.”

Speaking on change and new things I turned to the mixing booth: Vinyl, CD, or laptop?

“I’ve done the full journey over the years and I’m now fully entrenched with the computer. It’s the most creative way of doing it, and while it may upset the purists, I’ve played for long enough, and as part of the change we just talked about, it keeps things fresh. I don’t think I could ever go back now,” he says.

Pete Tong may appear to have icy armour but he’s cool. As a veteran who’s peered into electronica’s every nook and cranny he brought it all back to its essence with this one comment:

“At the end of the day it’s about picking the right music and playing it in the right order.”

Sweet, that hottie just smiled back.

Here's a preview from Pete's 2004 signature film It's all gone Pete Tong. If you're yet to see it then you're missing out on one of electronica's best ever stories:



Keep groovin',

DC

Pete Tong: Playing it up 'Downunder' this NY

Pete Tong is the gateway for so many into the realms of electronica.

Heading downunder this festive season to play a number of gigs across our wide land D.M.M. caught up with the maestro to chat about his impending visit and what Australian artists are, in his opinion, leading the way in the global scene:

Pete Tong is an interesting man – but he’s not an easy one to interview. Like waiting for the buildup in a dance track, you groove, you grin, you slowly await the wave-releasing sensation of the breakdown; to let loose with the beat and melody as you smile at that hottie across the floor – only they don’t smile back. This is Pete Tong. Perhaps he was having an off night. Perhaps I was having an off day, and as we chat I metaphorically chink at the ice that lies between me and the legendary DJ and Radio 1 host as he’s being driven to a gig in downtown Paris.

This is Pete Tong. Eventually, he speaks of his love of Australia, and the frost begins to melt. “I’ve been visiting since the late 80s and this’ll be my fifth or sixth time. It’s always a pleasure to get down there,” he says.

Headlining Sydney’s first ever Space Ibiza event on New Years Day in Sydney, as well as several other events around the country, I asked how he approaches such gigs, particularly as the event heralds yet another Ibiza staple to our shores. Will it be a festivalised, anthem-laden affair, or a more ad-hoc feed-off-the-crowd style?

“I try to make it as entertaining as possible irrespective of the gig,” Pete qualifies. “I always go out to do the very best I can do… it won’t be cheesy, it’ll be an event.”

Amongst the heady backdrop of big names arriving for the new year in Australia (with Carl Cox, Tom Novy, Sandy Rivera being just a mere few of them), Space Ibiza looks to be a standout, particularly given it’s at a fresh (although untested) location in Moore Park. Given that it’s been quite a while since his last visit, it led me to query what was special this year that got him down here – was god really a DJ, celestially aligning his galactic turntables for us or was it Santa riding in on a subwoofer sleigh?

“Australia is so attractive this time of year with its climate, and it synchronises perfectly for so many of us DJs with the Ibiza and northern hemisphere festival season over. Plus the people – always up for it, always primed to party hard. It’s also fair to say the Australian electronic scene is making a bigger impression and contribution worldwide. Music is even breaking there, especially on a crossover level, before anywhere else,” he adds.

As a gateway to the electronic dance world for so many, Pete is the industry’s pulse, and as an ex A&R music exec who’s used to unearthing the next big thing, I ask who from Australia is musically exciting him? “*TV Rock* and Dirty South are two that spring to mind. TV Rock’s reputation is ever growing and Dirty South is producing some great stuff and travelling the world. Sneaky Sound System is another. All have really done some big things in the last 18 months,” he elaborates.

Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with Pete Tong, where we discuss his latest foray's into film and his personal mixing preferences.

Until then groove to this gem from the film "It's all gone Pete Tong" produced and starring the man himself:



Keep groovin',

DC

The Shazam Experience: the only way is up

In the second part of D.M.M's interview with this Gold Coast gang we touch on their sound, career highlights, and the release of their new tracks: 'Lost in Surfers Paradise' and 'Into the Deep'.

It’s this unique sound which has seen them perform at a variety of name events and I asked for some career highlights. “The MTV Europe gig back in 2007 was a great experience, to be invited over and to play to such a huge crowd was unforgettable. Performing in Bali was a lot of fun, and our gig on Australia Day this year at Brisbane’s Birdee Num Num was another one we’ll never forget,” Jay happily reflected.

As highlights go the recent release of their original tracks, Lost in Surfers Paradise and Into the Deep on Dektek Records adds to their ever growing dance cred. The tracks expertly emulate the light and dark which The Shazam Experience weaves into their shows and I asked how they translated this vibe in the studio.

“I produce the main bodies of the tracks, which initially have a darker edge, the instrumentalists then add their own flavour to lighten things up, and Tasha and Brandon finish everything off by bringing some soul to the tracks with their vocals,” Jay described.



“We all have different musical tastes and influences, but we all share a common love for quality electronic sounds, and when fused together, you can really hear and feel the synergy of the dark and the light in our music,” Tasha added.

The results speak for themselves and both pieces seem to capture the bands essence without diminishing their live power. Into the Deep particularly plays on these light and dark contrasts and sounds just at home whether unleashed in a club’s darkened room or pumped out on the patio of any Sunday arvo session.

Looking beyond, I asked what was on the horizon now that they had their songs out.
“We’re currently working on an EP for release early next year and after that will come the album,” Jay informed.

With a reputation growing quicker than any genie’s wishlist, The Shazam Experience is a breath of fresh local air to the Australian dance music scene.

Better yet, they finally give the Gold Coast’s shallowness a well needed deep end.

For gig lists and a listen to their new tracks see:

http://www.myspace.com/shazamexperience

For bookings contact: info@jayplease.com

Keep groovin',

DC

The Shazam Experience: What a genie would wish for

The Gold Coast isn't renowned for its substance, and it was with great relief when I encountered these guys pumping it out in the city of shallowness. In a two part series D.M.M. interviewed Jay and Tash of the The Shazam Experience on their origins, experiences and recent track releases. Enjoy:

If Crazy Penis ever made sweet love with Deadmau5 their lovechild would be The Shazam Experience.

Led by DJ Jay Please, The Shazam Experience harmonises a funky live performance mixed with DJ house grooves, colourfully combining to give some well needed house music depth to the Australian dancescape.

Weekly regulars to the Gold Coast music scene at The Deck, Perle and soon to be Mist, D.M.M. recently caught up with Jay and one of their lead vocalists, Tasha, to chat on their name, direction, and two new track releases, Lost in Surfers Paradise and Into the Deep.

“I came up with the name Shazam when I started DJ’ing for one of the first ever club nights I organised back in 2001. Shazam began as a concept of adding live instrumentalists to a DJ set. As the number of live instrumentalists grew, and with live vocalists also added into the equation, what began as a concept developed into a band. From then on Shazam just didn’t cut it, so we came up with The Shazam Experience,” Jay explained.



In dance music terms, The Shazam Experience is one pumping outfit of big band liveliness. Adding to Jay’s dex and effects are 11 other performers: two vocalists, three percussionists, two saxophonists, two trumpeters, a guitarist, and in what may be an electronic dance music first, a didjeribone. A sort of slide didjeridoo, the didjeribone Jay outlined, “is really cool as Dave actually plays it with the microphone in his mouth, hitting some really nice notes and making some great effects.”

With such a large ensemble Jay chuckled it can be sometimes hard to fit everyone onstage and they normally tailor their numbers depending on the gig. “We normally play as a group of five to six, and usually rotate everyone over the night as we often play such long shows,” he added.

“We love long sets as it gives us an opportunity to show our range. We’ll often start off funky and soulful and as the night progresses we’ll jack it up with a more techy and proggy house sound,” Jay said.

Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with The Shazam Experience, where we discuss some gig highlights and get behind the scenes on their recently released tracks.

Keep groovin',

DC

John '00' Fleming: dropping some thunderballs

In the final part to D.M.M's interview series John hits us with some brutal honesty on the festival scene and on why he's no fan of the laptop:

On the current festival scene John has no trouble speaking his mind.

“It’s gotta be about no rules, no genres, and all in one big room. That’s where I express myself musically, and in not having to reach for the emergency section of the CD wallet for anthem after anthem after anthem,” he said.

It what are strong words from a strong DJ it is this progressiveness and honesty which makes John ‘00’ Fleming a true artist.

Such bluntness is typically what’s needed to not only perk punters ears up to new sounds but to also unlock their starry gazes from the dazzling lights at the top.

I laughed at hearing the mention of CD wallets and it prompted me to ask if he’d fully embraced the digital world like many of his peers.

"I’m still on CD’s after giving laptops a go. I desperately wanted it to work for me, and theoretically it does work, in making it easy to drag and drop files as opposed to burning discs, but my record bag was so heavy it became a logistical nightmare," he said.

"Paul Van Dyk carries three laptops with him simply for the technical issues," he added.

“There can also be so many compatibility problems. When you get to a gig with only 30 minutes to set up, rather than drinking the crowd and the vibe in your frantically setting up and hoping everything is going to work. I’m a people person and I’d rather feel the crowd,” he said.

John ‘00’ Fleming is a no holds-barred kind of guy.

However, in all of this there’s no arrogance or abrasiveness; just insightful and sincere passion, underpinned by a candour only found in someone so long in the dance game.

Musically, expect the unexpected. But one thing is for sure, when he whips that wallet out you’ll be in for an experience that’ll splash you harder than a face full of martini's.

That brings us to the end of a great interview series and there could be no finer closing than listening to John's remix of the Cafe Del Mar classic - Energy 52.



Keep groovin',

DC

John '00' Fleming: music festivals and where it's at

In part two of our three part interview series with John we delve into festivals and musical open mindedness:

It’s not only in the studio where John gets his musical way and he says it’s for the same reasons he gets invited to headline stellar events like Godskitchen.

“They invite me because I bring this different musical flavour to the line-up. On paper we may not all fit together, but the aim is not to have boundaries but to put people in the mindset that this is how it used to be like, and to experience different types of electronica.”

How it used be like?

Many people reminisce on the ‘good old days’ of dance but I normally dismissed them as ‘old farts’ belonging to an era of Atari’s and Intellivision’.











But Fleming is resolute, blaming it squarely on commercialisation and unoriginality – an issue he says is often only privately spoken about in DJ circles as labels and promoters chase the dollar.

“It seems everyone’s forgotten about electronic music’s history. I want to emphasise, I’m not against the mainstream but there’s no new talent being born, no new styles of music coming through and for anyone trying to break through, and there are a heap of talented artists out there, they’ve got a huge challenge and it’s a real shame,” he bemoans.

I ask John to elaborate on this touchy taboo of dance, and on what he’s doing about it.

“Many of today’s clubbers only know what the scene is about today and nothing about its origins. People seem to have blinkers on, only wanting the candy stuff. I’m saying be more open minded, don’t leave the dance floor when the big hits stop spinning and appreciate the styles bordering the stereotypical genres.”

The final part to John's interview is just around the corner. Until then open your mind with a little known Flash Brothers feat Tiff Lacey number - Faith in Love, fully reworked by Mr '00' himself.



Keep groovin',

DC

John '00' Fleming: here to shake and stir you in October

The Godskitchen 'Boombox' tour is heading our way this spring and with John as one of headliners it's an event not be missed.

Almost two years since his last visit, and in the first of a three part series, we get straight into what we won't be hearing and on his relationship with the big labels:

Vanilla flavoured trance isn’t on the menu with John ‘00’ Fleming for his style has a flavour that will leave you both positively shaken and stirred.

A pioneer of the electronic music scene since the early 90s, when you hear his sets you’ll hear the sounds of originality and pumping dark delight, instead of the predictability and vocal cheesiness that gets the eyes rolling in the back of your head.

“It’ll be the sounds of new music and a mix that won’t be a typical ‘hit after hit after hit’ which seems to have become the norm at so many of these festivals,” he said.

Touching on an interesting point, I asked the outspoken Fleming to elaborate.

“As a clubber when I went out it was to be blown away by hearing new music, where you would walk away and go, where the hell did that guy or girl that music from, rather than leaving and saying that they had just heard all of the hits in a formula that many big name DJ’s are repeatedly copying.”

So, Fleming’s a maverick. An individualist who leads in musical style and who is never shy to speak his mind.

Nevertheless, self cast in this unique mould he is one who is still popular with the name brands and I asked him on this marriage of peculiarity.

“With Ministry of Sound for example, they turn to me when they want a specialist sound. The trust is there and they allow me to express myself musically without messing around with the track listing."

“I’m putting another album together for them at the moment and they’ll say to me, ‘Right John, just do your thing, the results are there and you’ve got a strong following,’ that’s what I love about them.”

Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with John '00' Fleming, where we discuss big festivals and his take on the scene right now.

Until then enjoy some hands in the air moments as John smashes it at Gatecrasher:



Keep groovin',

DC

Chris Lake: the final piece

In the last piece completing the Chris Lake interview puzzle we touch on his love of mashing guitar riffs and perceptions in remixing:

Chris elaborates that he sees his remixes as an interpretation, and he usually only takes one or two sounds from an original.

“If there’s a guitar I’ll normally always take that and cut it up into something really different.”

And on vocals, he offers a funny anecdote.

“I’d just finished a remix for a new band, One Of The People, and they’d asked for three versions: a vocal, an instrumental, and a dub. They then call to say, ‘you’ve sent the one labelled vocal but there’s no vocal in it’, even though there was and I’d just not used the whole sample. In the end they still took it!”

Chris Lake is a burgeoning bastion of beats, and on top of that he’s also a straight-up guy, with a warm manner and a thoughtful edge to his answers; a real pleasure to interview.

For those who have seen him perform before, welcome him back. For those who haven’t, prepare to be peppered by a pulsating package of progressive and house.

Let’s just hope in his quest for digital dominance, he doesn’t adopt the full internet world of virtuality, Lawnmower Man style, and relegate himself to virtually teleconferencing his DJ gigs in the near future!

Look out for Chris Lake’s artist album Crazy later in the year, and catch him at a club near you.

Keep groovin',

DC

Guy Gerber interview: the final instalment

In the second part of Guy Gerber's interview we cover life outside the clubs, the reinvigorated launch of his label and...we drop a bombshell:

Guy's talents aren’t only confined to electronic music. He is as adept with the round ball as he is twiddling knobs in the studio; in his teens representing his country on the soccer field.

This naturally led me to ask who he followed, and if he still kept his skills up.

“Unfortunately not at all,” he laughed.

“I like to remember myself as the Al Bundy character from Married with Children, who reminisces on how good he was in former days without having to show what he can actually do now, but I love watching and follow Liverpool and Barcelona.”

Back onto dance I asked him on the scene back home.

Guy said the sound in the clubs is currently more progressive and there are some cool underground venues in his home city of Tel Aviv.

He's also currently working on his follow-up album on his own label Supplement Facts.

“It’s really growing. Particularly now that we’ve gone to a new structure of management,” he said.

His second album, as yet unnamed, is in the late stages of completion and will be something to watch out for later this year.

Guy also dropped the bombshell that he’s recently parted ways with Cocoon, though he confirms that, “it was all on good terms,” and it now gives him more time to focus on developing his label.

In touring here Guy said he is pumped to be finally playing to Australian crowds.

“I’ve heard a lot of good things, and I’m expecting a lot of good energy in Australia. I’ll also be performing a good mix of new tracks off the upcoming album.”

Unfortunately though his involvement will be a, ‘pash and dash’ affair, limited to a roaring run of gigs through Brisbane, Sydney, Melbourne and Adelaide, leaving him with little to no time to savour the sights.

A man of dedication and diligence he tells D.M.M he’ll be heading home immediately after the gigs to finish up the album.

With the horizon a bright beacon Guy's next stop is the 2009 summer residency at the mighty Space in Ibiza.

Let’s hope it’s not too long before he returns!

As an appetizer check out Guy ripping it up close and personal last year in Amsterdam:



Check back real soon, or simply subscribe to the RSS feed, for more Dance Music Musings.

Coming up real soon is my interview with one of the stars of the upcoming Godskitchen tour - John 00 Fleming...

Keep groovin',

DC

Chris Lake interview: part two

Melodic moving sounds, images and words fuel the musical engine and in part two of the interview with Chris Lake we mix into his take on the morphing of these and what inspires him:

Chris is also into video blogging (http://www.risingmusicblog.com/), something he says that started on his recent North American tour and is now a permanent accompaniment.

“We were putting up videos every couple of days after every gig, and it got a really good response. It’s something we’ll definitely be bringing to my four days in Australia.”

With a seeming sassiness in front of the camera, you’d be inclined to think this one-time postal clerk would be ready to make his own movie, particularly with his leading role in the 2008 music video, If You Knew.




When asked on making the video he laughed, “[It was] bloody awful! I’ve put that one down to a one off experience and I cannot take anymore ribbing from my mates.”

As for musical inspiration and admiration, Chris highlights two artists in a line of class acts: Timo Mass and Sander Kleinenberg.

When asked what it is about these two he replied, “They were two producers that really got me into progressive. Everything Timo was doing around ’99 and ’00 I just thought was really, really good. While for Sander, one of the key things for me was the Four Seasons EP, which was absolutely awesome music.”

Interestingly, while Chris said these were the early influences which made him stand up and take notice, in what seems to be a journeyman’s self-evolutionary path to mastery, he added his music is now nothing quite like it.

Also described as master of the rework, I asked Chris on his personal thoughts, “It’s an interesting one!” he smirked. “And it’s nice when people make such positive comments but its one title I’ve never really thought about.”

On picking songs to remix he said, “I do get a lot of offers and for various reasons you can’t take every one on. When one does comes through though you’ve got to decide if it has enough of the individual elements suitable for a rework.”

Chris then added that some tracks can be a breeze while others can prove a downright challenge.

“Some can take as little as three hours, whereas for example one I did for the Rogue Traders took me three weeks!”

As always, check back real soon, or simply subscribe to the RSS feed, for the final part of D.M.M.'s interview with Chris Lake...

Keep groovin',

DC

Guy Gerber: preparing for his maiden voyage downunder

In a techno treat for us braving the clubs this winter you'll be warmed to hear Guy Gerber is imminently heading our way for his first ever series of gigs downunder.

In a two part interview series I had the pleasure of recently catching up with him to find out what he really knows about Australia and what he'll have in store of us.

Check out the appetiser:

Having never before visited our shores, Guy Gerber's impressions of Australia have so far been relegated to terrible examples of ocker culture like Kylie, Jason and Home and Away.

But don’t hold that against him, this is one DJ/producer worth his salt, and whose dedication to the craft continues to reap rewards.

Soon to perform in our country over July and August, D.M.M. asked this Tel Aviv native to nominate the turning point in what’s, so far, been a series of career highlights.

“It was the signing to Cocoon,” he says unequivocally, in reference to German techno stalwart Sven Väth’s record label.

“It really changed my life.”

“I begun sending tracks to them at the urging of my friends after they told me Sven was playing my releases. The label manager then contacted me to set up a meeting.”

Once he’d signed on the dotted line, the doors opened wider and he was invited to play in Frankfurt and Barcelona, his hat thrown firmly in the ring alongside the Teutonic titan.

Irrespective of this big break, it’s easy to argue that Guy would have still ascended the musical mountain under his own steam, given that he’s been releasing massive tunes since 2002, most notably his 2004 bomb Stoppage Time.



This track quickly became one of that season’s Ibiza anthems and was picked up by John Digweed’s influential Bedrock label while being regularly spun by the likes of Steve Angello, Dave Seaman and Mauro Picotto.

Listening to it again prior to the interview, I remarked how the classic reminded me of vintage Sasha & Digweed.

“I list those artists as both inspirations and friends and like their music the ultimate appeal is in the feeling being more important than the beats.”

On performing, Guy says transitioning from the studio to the playing live sets alongside Väth proved quite the challenge.

“I was very shy, and Sven helped me feel much more comfortable, and that it’s OK to be yourself. He is an amazing teacher.”

With shyness subdued, Guy spent 2008 clocking up the frequent flyer miles playing club gigs all over Europe and heavily promoting his debut album Late Bloomers which was released on the Cocoon label.

Signature tracks from it include, Sea of Sand and Belly Dancing.

As a piece of artistry it’s the perfect showcase of his talents, emphasising his indie-rock roots and polished production skills to produce a sound that’s difficult to define but easy to enjoy; a polymorph of progressive, techno, electro and trance.

Check back real soon, or simply subscribe to the RSS feed, for the final of D.M.M.'s Guy Gerber interview.

Keep groovin',

DC

Chris Lake is coming to town

This month DJ Chris Lake is bringing his brand of dance to play all the major clubs on the eastern seaboard.

In a three part interview series D.M.M. caught up with him on the eve of his Australian winter tour.

Check out part one:

Living the healthy life is not something that immediately springs to mind when imagining what a DJ gets up to, but Chris Lake is one who walks to the beat of a different drum machine.

“I’ve been trying to keep healthy, eat well, plus have a half decent routine and it’s making a big difference when I’m in the studio,” he said.

This might all sound ho-hum, but it’s exactly the regime required for any serious DJ who is jetsetting across the globe and consistently pumping out quality productions.

A veritable music machine, and on his third visit to Australia shortly to play a host of gigs, it seems we’re due to benefit from this newfound lease on life.

“I’ve just finished eight tracks in the past month and I’ve some choice numbers to play on this tour,” he told D.M.M.

With his touring schedule, playlists and our listening pleasure nicely sorted, Chris filled us in on the latest happenings with his label Rising Music.

“We’re just about to kick off the Rising Summer series.”

“It's a collaboration of releases in which we let loose a new track every fortnight involving some cool up and coming artists.”

The first slated release is a tune called Violins, co-produced with friend Marco Lys and remixed by Swedish duo Sour Grapes. It’s a sublime opener, sweeping in as a funky, techno summer breeze.



Chris loves his fans, and in an effort to closely interact with them he’s become the epitome of Web 2.0.

Knowing that a simple static page just doesn’t cut it anymore, and admitting to constantly 'working the rooms' of the social media scene, he added he’s in the midst of a mammoth website upgrade.

“I really wanted a site that incorporated all of the things that are currently happening on the web. I like to talk with my fans as much as possible, and we’ve got all the usual suspects of social media sorted, but I wanted to incorporate something more,” he said.

“The redesign will also offer free track downloads, and in addition to having the standard information it will allow for some good intermingling.”

Asked on when it will be ready he laughed, “Unfortunately these things don’t design themselves and even as we speak I’ve got someone working on them. They’ll be up real soon.”

Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with Chris Lake...

Keep groovin',

DC