- Published on Wednesday, 16 October 2019 16:09
South America gents Guti & David Gtronic joined their forces to create a brand new label called "Personality Disorder". Honestly, there's no much to say about these guys whom, although following different paths, have both reached the higher-ups (and the best worldwide stages) of the house & techno scene. Before you start reading this interview, make you sure to check the EXCLUSIVE PREMIERE of their debut-project track → Guti & David Gtronic - The Traveller [Personality Disorder 001]
GUTI & DAVID: Ciao guys! I'm so happy to have both of you here! And I'm even more happy to talk about your new "Personality Disorder" project. Before that, you've never released anything together and personally I think that no one was expecting such a huge collaborative effort of 17 tracks, which is really huge. How did the idea come about and how long have you worked on it?
GUTI: Hey! We’ve been friends for some years now but always on the tour in different cities and always on the go until earlier this year when I found myself spending more and more time in Berlin and we finally had time to hang out for a consecutive period of time without the having to rush to catch a flight. Although I’ve lived in Berlin 10 years ago with Seth Troxler, Ryan Crosson and Shaun Reeves, David welcomed me back to the city and we just start jamming in the studio to socialize. We both are studio freaks! David can work for hours and I make music every day so this combination is like an obsession - a personality disorder in a sense. During one of our sessions, We started to jam and at one point we had around 20 songs that we were working for months and every time we would meet, I would come with a new idea to David’s studio and we would just keep going from there. Eventually, we asked ourselves what we do with all of this new music. Starting our own label looked the best option and that’s how it all started.
DAVID: It’s been nearly a year when we first started experimenting together but just about two months ago is when we decided on putting together a mixtape with all of our tracks. Collaborating with Guti has been the optimal workflow for me. Since we met, our chemistry has emerged flawlessly. We typically spend a couple of hours jamming and generating ideas together without any creative limitations. Down the road is where I come in and mix down the tracks, compounding final details that demand a little bit more time and patience.
GUTI: Honestly, after the release of your "The year of the Conga" Album on Cuttin’ Headz, I’ve never expected such a big amount of material in 2019. Why have you decided to release it now?
GUTI: First of all, it’s already been a long year! The Year of the Conga technically came out in March 2019 but was produced about 2 years ago and we actually started promoting the 1st single in October 2018 so to me it’s been a while. I’m constantly evolving with my music which is how I’ve always been and this drive and inspiration to create has to do with the things going on in my life. For example, I moved to Lisbon early this year and also started a new relationship which of course affected my life and led me to make new music. This year involved a lot of transition both personally and professionally which manifests itself creatively for me. On that note, I also produced an incredible new album in Paris with Djebali that will be out in spring 2020.
DAVID: I’m pretty sure that it’s an honour to you to collaborate with an iconic figure like Guti, who’s touring the world for more than 10 years since now. When (and where) have you met him the first time? Would you ever have imagined working with him?
I met Guti back in 2011 during the Miami Music Conference. I remember his album ‘Patio De Juegos’ which was recently released. I recall thinking wow this is an artist that has some serious skills with his fusion of jazz, piano, classical, and house beats. The Desolat crew was one of my favourite labels during the time so his album on the label was an enormous inspiration for me.
GUTI & DAVID: I’ve only listened to “The Traveler” and the track it’s a total dancefloor-destroyer. Where does the track name come from and why have you decided to release it as the first record? Will the projects include different genres as well?
GUTI: This track is a product of total chance since we were mixing another song and in a break, we started changing everything and we came out with “The Traveller”. David adds a lot of details and obsession to a sound that I never had and I think is a pretty good mix of new vibes we have created.
DAVID: The Traveller was, in fact, one of the last tracks we produced together recently to conclude the album. As Guti described, we were in the middle of a mixing session when we decided to take a break and work on something fresh. We had a 16 bar loop and within one hour we had the main idea of the production nearly finished. A few days later after spending some time mixing it and adding the final touches both Guti & I tested the track when we were out on the road and we both agreed this was probably one of the strongest track and it deserved to be one of the main singles. The name emerges from the idea that we have always been free and independent souls travelling around, making music and sharing it with the world. The album will include all sorts of genres from breakbeat to minimal, house and techno.
GUTI & DAVID: Who's got the most "Traveler" spirit between you two?
GUTI: This is very subjective of course, but I would say: me!
DAVID: Perhaps as Guti stated he is always in different dimensions within his mind ‘Space out” hahaha. but I believe we both have a big traveller soul within us. We both left our countries in South America a really long time ago and we have been travelling and exploring the world ever since.
GUTI & DAVID: And what about the most "Disorded Personality"?
GUTI: I would say I do, but I’m also more than ten years older. He’s gonna’ catch up though.
DAVID: I would have to agree with Guti on this one, he is like a beautiful mind with a little bit of craziness on the side. Me? I’m pretty chilled but I have my moments too, hahaha.
- GUTI & DAVID: Who has chosen “Personality Disorder” as the name for the project and what does it means to you?
GUTI: I came up with the name but also with another 1000 terrible names. We have chosen this one cause it represents us. We are different spectrums of the same disorder. David is an incredibly responsible and hard worker for his age I got to admire his ethic and hard work and he has better ears than me. We also met a painter from Algeria Djamel and he is a complete and beautiful freak so we all came up with this fast passing way to do things we are on the third release now and about to drop our album and have already made the next 10 releases. We are out of control
DAVID: It was Guti’s idea, when he first mentioned it to me I wasn’t too sure about it but then we started brainstorming all the ideas about the art etc and it seemed as this was a project we can really express ourselves creatively in many ways. So the choice was obvious at the end. It was insane the way that everything was flowing so naturally. One night we finished the first single ‘The Traveller’, then we sent it to get mastered by my friend Robin Virag who had it ready for us the next morning. We then came up with the name and Guti had already some of the artwork and videos are done by Djamel. During the same day, we were already announcing the label and the release of the first single. What I love the most about this project is that we are doing everything independently with band camp so we don’t have to wait for the label distributors to release the music which usually takes weeks, months or sometimes even years to come out. Whatever we feel like putting out we can do it right away.
GUTI: Will you release only “Guti & David Gtronic” music on the label or is it open to other collaborations and artists? If is it open to other artists who would you like to welcome to the label? Any name of some artists you’re looking for/upcoming prospects?
GUTI: We've already "signed Guti solo music, and I hope David gonna make some new solo tracks soon too. I also have collaborations coming with Tripmastaz, Fosky, Dani Ramos and Camikazy Uzi - a French rapper-singer. We have loads of our work coming out.
GUTI & DAVID: Who's the most nerd between you two?
GUTI: David! No way!
DAVID: That would definitely have to be me as I sometimes spent hours blending and mixing until I get the right balance. Sometimes I can spend a big amount of time adjusting a certain sound. Where Guti just comes in and jams and drops all his creativity. I like to get more technical with the details that demand patience and time.
GUTI & DAVID: Which is the best track of your "new partner"?
GUTI: I will choose one that is coming out on our album that we both produced called “Waves In The Sun”. I feel it’s one of our best pieces of work to date.
DAVID: My favourite Guti track would have to be ‘Maayancholy’ which it was a collab between Cesar Merveille & Guti. I love the melancholic vibe this track has it's truly a beautiful piece of art for me. Ever since it was released in 2011 it has been one of my favourite tracks to listen to during gloomy days.
GUTI & DAVID: Which is the strangest David's habit (and vice-versa)?
GUTI: Girls! He's the ladies' man in our relationship...
DAVID: Hahaha, I would have to say on many occasions where we go party together he’s always the first one out of the crew to get lost every time!! It must be part of his personality disorder :)
GUTI & DAVID: You guys are both hailing from South America. What’s your opinion on the actual underground scene in your respective countries right now and which are your thoughts (and hopes) for the future? How your “Latinos” background has influenced your sound in this particular release?
GUTI: It's a great moment for the South American scene and The Americas in general. With great promoters, artists and incredible crowds it’s a wave of positive energy and as Latinos, everything we do reflects on that!
DAVID: In reality, I departed Colombia at a very young age, so I didn't get to experience the nightlife scene enough until a few years ago that I began touring in South America. From my recent experience in Colombia during the last couple of years, the scene has been growing rapidly. Nowadays they are delivering so much more minimal artists than ever before. The clubbing environment has always been great there don’t get me wrong, but it's awesome to see the underground sound is catching up. My hope for the future is that more and more European minimal artists can make their way down to South America and expand the music culture there. Guti’s Latin flavour is definitely sprinkled all over the production with Congas, Bongos, Spanish vocals and so much more!
GUTI & DAVID: Any final shout-out or anticipation for what’s coming next?
GUTI: First, we have our album coming out on our new label, then a Guti solo release, then collaborations with Fosky, Tripmastaz & Dani Ramos. We also have our 1st co-produced release, which is an EP called “You Can Still Be Mine” coming out on Dubfire’s label Sci+Tec in November.
DAVID: The full album will be available to download on Bandcamp the week after ADE. Until then, we have been releasing one single at a time. We also have a fantastic four-track EP coming out on Dubfire’s SCI+TEC label on the 15th of November on Vinyl and Digital Format. As Guti mentioned this was some of the first tracks we finished at Dani Ramos studio in Berlin and from there on its when the whole album concept started rolling.
Thank you so much for Guti & David for their time and kindness! Now let's get Personality-disordered!!!!
Words by Francesco Quieti
- Published on Monday, 23 September 2019 22:12
Before you start to read this interview, make you sure to listen to his EXCLUSIVE 100% unreleased productions PODCAST ← and to the premiere of JALE - Orbital Dream [JROOM 001] ←
Hey Julien! You’re here unveiling your new JALE project for the very first time. Tell us more about it. How did the idea about opening a new label (J ROOM) come to your mind?
JALE represents the inner essence of the J ROOM, a place where I’m able to feel completely free to share my own vision of music, without trends and market’s compromises. It’s an bodiless identity which is all about an unstoppable but meticulous sound-research and experimentation. J ROOM is born from my own necessity and desire to create a pristine area to stand out in such a saturated market like today’s one, a little oasis where you can find some musical refreshment.
Your last project called Blind Box has gained immense popularity during the last years. With releases from the likes of Dana Ruh, Subb-An, Diego Krause, Julian Alexander it was definitely a point of reference for all the up&coming labels around. Also, you have two successful projects like the solo Julien Sandre and Jarau (alongside Mennie). What made you decide to start everything from zero with a new alias?
It’s safe to say that this it’s totally a new beginning for me, but this does not exclude my artistic roots and all the experiences that I’ve made so far. The extraordinary journey that I’ve started with Blind Box will continue with a whole new maturity acquired over the years and with the usual and incessant research for a unique and fascinating sound which can clearly represent the main objective of this journey.
The support of Priku at Neversea (which was live-streamed on DJ Mag as well) has certainly been helpful to promote the new project. How important do you think it is nowadays to find a video of a DJ playing your record?
Today, the support of talented artists and colleagues is fundamental, especially if documented in iconic events such as the Sunwaves, the Neversea or the Off Week. The support of artists such as Arpiar, SIT, Priku, Barac, Praslea, Janeret, Shaun Reeves among many others, in addition to enormously gratifying our work, allows us to reach a vast audience of enthusiasts who can thus access the contents of our J ROOM.
The EP also features a Cosmjn remix. Why did you choose him?
Cosmjn is such an extraordinary artist. He perfectly embodies the sophisticated and visionary sound that we want to propose on J ROOM. His remix is a dreamlike-oniric journey that totally overwhelms the senses.
What sound are you going to promote on the new label? With your JALE alias, will you release music only on JROOM?
JALE is musical the materialisation of the J ROOM concept and will always be the protagonist, but firstly, music is sharing; therefore we are totally open to collaborations, obviously selective, with those who will be akin to our vision. We will try to propose a sophisticated and elegant sound, mainly aimed at stimulating the mind of the listeners and creating emotional connections with the dancefloor, then obviously to make the bodies move.
In Italy, and in particular in Naples, where the "tech-Napoli" is very present, a certain type of sound (the “new-wave-minimal”) still struggles to emerge. What does it depend on you?
That's a very complex and unfortunately very current question. In my personal opinion, the cause of this situation is to be found in many factors that have diminished the absolute priority of music in favour of business and entertainment of dubious taste. A tragic generational change that sees as protagonists hordes of kids dedicated exclusively to denying themselves with drugs and alcohol to the sound of traps and reggaeton (at least here in Italy); the looting of the agencies on artistic fees and the inadequacy or often the complete improvisation of our own promoters, as well as a general cultural impoverishment are for me the general factors of this crisis in Italy. In Naples, we have been trying for a couple of years with a project called Mesmerize to create a small niche where to look for some artistic contents rather than some miserable entertainment. We fight against the windmills but we don't give up. Obviously, it’s not everything like this, as there are respectable national realities conceived to enhance musical research and a non-trivial sound and above all Italian artists of great depth who represent a flame of hope for the movement, highly appreciated by international audiences and semi-unknown at home: this leaves understand the difficulties of our clubbing.
Despite your brilliant productions released over the years with your various aliases, is it still difficult to find space in the various European circuits? Are you going to move abroad?
Being based in Naples has certainly represented a major limitation in my musical career: no contact on site and inadequate musical context. Everything I built was only achievable thanks to music and e-mails. Obviously, I move when I can in the cult places of European clubbing for connections and artistic briefings or gigs but everything is bound to the daytime work I do, which would make it impossible for me to move to artistically more pleasant places. Colleagues who have had the courage and luck to move to Berlin (for example) have finally seen the merits of their work recognized and this will always represent a small regret for me; however, music remains an inexhaustible source of serenity regardless of economic rewards.
Any anticipation on the upcoming releases both as JALE and as JROOM?
We are ready with the J ROOM 002 but for those who want to know more, we invite everyone to follow us and get in touch with our magical room.
Words by Francesco Quieti
"When you listen to nature, you can hear those sounds – it’s music." Exclusive interview with Russian DJ Andrey Pushkarev
- Published on Friday, 13 September 2019 09:50
Hey Andrey! Thank you for taking the time to chat with us! Starting at the beginning, when did you first realise you had a passion for music and what were you drawn to at the start?
Drum & Bass was the first electronic music genre I came across thank to a friend who used to travel to London often - she brought me cassettes from her travels. It sounded different from everything else I listened to at the time and it made me feel like I could be part of something bigger. We were a group of schoolmates in a tiny town of Russia - there was no internet in 1995-1996. Tapes, Cassettes, Films on VHS (“Trainspotting”, “Hackers”, “Acid House”), Russian magazines “Ptuch”, “OM” were the only sources from which we could gather information about music culture.
Growing up in the small town Votkinsk in regional Russia, where we you finding inspiration?
I feel a strong connection with nature since I was a child. Votkinski is a small town but there, because the nature surrounds the city, I could find inner peace and unlimited source of ideas. Trees rustling, rain falling, thunder and lightning, waves crashing. When you listen to nature, you can hear those sounds – it’s music. The natural world has inspired composers to write many famous works of music. At the same time melodies, harmonies, rhythm, tempo and musical dynamics can combine to create the image of the variety of landscapes. If we allow ourselves to spend more time far from the cities, we can hear nature all the time.
Fast forward to today, whenever you play there’s always a very palpable creativity and admirable feeling of ‘freshness’ that not many can sustain over a long career. What are your current sources of inspiration?
There are moments in life which have an impact on your overall state - sometimes we seek those moments because we feel the need of a change, and other times they just manifest by themselves. Those “moments” can be related to a person you meet, a trip somewhere, a dream or just during a solitary walk. Every moment is new and different from the moment before - I feel that if we manage to align to what life brings us every time, we will always be a different & “fresher” version of ourselves.
Having been a touring DJ for the best part of a decade, you’ve had more experience on the road than most. What are the most important lessons about this lifestyle you’ve learnt over time?
Eating healthy, staying hydrated, and trying to keep a regular sleeping schedule when I don’t travel. Being kind to everyone you meet on your way. Keep the focus on what really matters in this music business - it’s easy to lose sight of what’s important and the real reason why you chose to live this career.
I read a while ago that you were particularly drawn to day parties. Is this still the case? What environments do you feel most at home playing in?
Daytime parties have a different energy - people are more in line with their biological rhythm and therefore the mood, emotions and social interactions are completely different than going out at night. I feel they create generally a much more relaxed atmosphere and enjoyable experience.
With a record collection well in excess of 8000 records, how do you approach packing your bag ahead of a gig?
I pick my favorite records of the moment and periodically revisit my collection - I always find something that still surprises me long time after being released.
How much of your time is spent digging for new music today?
I would say between two and three hours per day, sometimes more - it depends on how many promos I receive.
When it comes to the music you play, there’s an admirable amount of diversity (with everything from vibrant house to driving techno and breaks) but always a distinct character and emotive mood. Do you find this is something that comes naturally or are you conscious of it when selecting?
It’s a combination of intuition about how the audience feels in a certain moment, and a conscious decision on the atmosphere I would like to immerse the people in. It’s like taking someone on a journey: you have an idea of where to take your guests but leave room for spontaneity, ending up in places outside of the planned route.
It seems that this ability to create cohesion amidst music that can be so stylistically different is something that distinguishes the truly talented selectors. This brings me to the recording you’ve kindly provided us with, from your back to back set with Stpjche at Echiwaves. Can you tell us a little about this experience?
For me b2b it’s a pretty intimate thing, cause first of all I always trying to “read” my partner, what he is doing while playing, and what he is playing, to make a transiting more smooth. I experienced playing accidentally b2b sets and I must admit that weren’t so smooth (from my point of view). I try to choose very carefully with who I share the decks keeping in mind the musical taste, personality and more generally vision about life. I feel that when three elements are aligned you can build up something really nice, like our set with Roger Gerressen and Exos.
Lastly, looking to the future, what are your goals for the remainder of the year?
I’m preparing myself for the upcoming All Night Long tour At the same time we are working on a new release on Luck of Access with young and talented Russian producer.
- Published on Friday, 06 September 2019 09:44
Just before arriving on site Thursday morning and receiving the heartbreaking news that Houghton Festival had been cancelled due to predicted 60mph winds by the Met Office, the underground electronic music family all shared a quiet moment of reflection about not getting to experience the magic of one of the finest festivals in the land again this year.
Leaving 8000 ravers with four free days to fill with dancing, alternative parties immediately sprung up online, featuring many of the artists due to play over the weekend and resulting in some of the quickest sold out events in recent months due to the eagerness of the crowd, intimacy of the venues and the gargantuan popularity of the DJs due to play. Some of the immediate events to surface were Voigtmann at Lion & Lamb and Cartulis at FOLD, both of which I quickly jumped on and therefore had something to look forward to and ease the blues.
The tiny capacity of pub venue Lion and Lamb meant that it was almost full upon arrival at 14:00 in the afternoon, with bodies eager to let off some steam and find solidarity on the dance floor. The pub has close connections with Houghton festival curator Craig Richards who can often be found on Thursday and Sunday nights playing here alongside many special companions who you rarely ever find in such a small setting. Voigtmann, another regular here, had today handpicked another very select bunch of artists including Bruno Schmidt, Patrick Klein, Silverlining, Taimur, Mr Shiver and Thoma Bulwer.
Tucked away off the main stretch of Hoxton, the traditional London boozer is cosy and familiar, with an outside terrace that allows you to chill with a pint before getting warmed up to hit the dance floor. Outside I met ravers who had travelled from as far as Malta and New York for Houghton and although as disappointed as they may have been, they still had smiles on their faces in anticipation of a day of quality music in these surroundings ahead. The family spirit associated with the festival and its deep-rooted connections across the country and further afield there for all to see.
Suitably limbered up, when I made my way past the leather sofas and rugs, and under the arty stereo jack lined ceiling, the party was already in full flow, with Bruno Schmidt making arms move and feet step in front of the small booth that included a simple set up of technics and a rotary mixer. Voigtmann could be seen interacting with the crowd, hugging both friends and newcomers alike and dancing behind the decks throughout. This set the tone and he embodied the collective enthusiasm. Taimur provided deep, hypnotic house, equally lapped up by the adoring faithful who were now crammed in and finally letting off some much-needed steam.
The party was just getting into its prime when I had to unfortunately cut it short and make my way over to Canning Town to FOLD to ensure I would be able to get a place in the again fully sold out event being hosted by Cartilus. Again, this featured some favourite underground heroes and masters of the turntables including the formidable Nicolas Lutz and My Own Jupiter label mates Omar, Unai Trotti, Kino and Michelle.
This was my first time at the club and I was impressed to say the least in its approach. Located in an industrial space far removed from anything that it might disrupt, it boasts the loudest sound system in London, with its 24-hour license and no-filming policy it has a European feel, and this was also represented in the diverse crowd in attendance. The door staff are friendly but selective and ensure that only those who are there for the music gain entry. From the outside it appears as abandoned as the other surrounding warehouses, but inside it becomes a rave paradise, with huge pillars, metal supports and shutters alongside the far wall. Lockers are available to return to throughout the night which provides safety and security for endless hours of dancing.
Inside the venue impressive lighting and sound filled the main room, with warm red lasers capturing the mood of the soundtrack of slow breaks that was initially being provided by both Kino and Unai Trotti, robotic sci-fi synths putting the early crowd into an early trip inside the former paint factory. The fascinating projections on the back wall behind the DJ of a bookshelf fading in and out accompanying the spellbinding records.
As the 600-capacity main room started to fill to the maximum and a dim blue hue filled the air, OMAR took the reins and played an engrossing set of stripped back house, experimental sounds from the Panama native enthralling stomping ravers. The sound system sounded fine-tuned wherever you were placed, and the room has an intimate yet dominating atmosphere.
The dystopian feel of the club that looks onto electric pylons and concrete rubble felt perfect as headliner Nicolas Lutz mesmerised the audience with menacing slow electro jams featuring long breakdowns that provided brief respite, before hitting into bombastic bass lines not of this planet. As the daylight began to pierce through the shutters creating an eerie, enchanting atmosphere, the appreciative and varied crowd were happy to be taken in whichever direction Lutz saw fit, as he didn’t make the path easily digestible, but it was ever exciting and the crowd seemed to welcome hearing new and completely unexpected tunes, many of which I’m sure may never see the light of day for some time yet.
Following a day break, the final party I checked out was a special collaboration between Meoko and BAG at the world-famous Fabric. Relative Perlon newcomer and extraordinary hardware wizz kid Spacetravel was headlining alongside Gene on Earth. The tunes throughout the night were exceptional as anticipated, with a fun, playful and heartwarming blend of abstract house selections that ended the weekend with a fitting sense of positivity.
This was one of the busiest times I have encountered at Fabric on a Sunday evening and the dancefloor was completely full right from the beginning of the night to the very last record, the surrounding of the caged booth right to the raised terrace at the back of the main room packed with familiar faces who were making the most of the additional days they had booked off on Monday and Tuesday. Keep a close eye on Meoko for more forthcoming events that will surprise and excite in the autumn and winter months.
Even though it wasn’t the weekend everyone had anticipated, with many sold out events across a whole host of venues and spaces, it was an opportunity for those who may not have otherwise received such a spotlight to get some well-deserved recognition. Old friends were reunited, new ones made, and it was great to see the community of the scene come together and make the best out of a bad situation, the days proving that London is still one of the friendliest and most interesting places to party in the world. No one in attendance at these events had a bad word to say about Houghton, warm feelings remained inside, and all will be seen back there in 2020.
Words by Tom Warner
- Published on Thursday, 22 August 2019 15:06
Quenum is surely one of the longevous acts in the electronic scene. His first steps as a DJ could be dated in the 80s and since then he has been an unstoppable train in continuous movement, taking part as a co-founder to the legendary Cadenza and giving life to the AZIMUTE project alongside Cesare vs Disorder and co-owning with him, since 2016, the prestigious Serialism label.
Your first track is dated in 2003… I was only 7 years old! How do you feel about having such a long and prolific career compared to the new generations and how do you see the evolution (from the parties to the music prod) of the whole electronic movement?
That's so funny! Actually, I was already DJing professionally in the 1980s. You know I never had a career plan, I just started DJing because I went a lot to clubs, I was a dancer and it was natural for me to be in music. I never thought this would last one year or 20 years, I just go day by day because I love it so much. In this new generation, there's a lot of good stuff and with social media and the Internet you can find out about it, everything is so much easier to access. But the problem is that there's a lot of hype and fashion and people who are in this business for the look, for looking cool on Instagram but they have no depth. That doesn't take away from all the young generation dudes who are doing very good stuff, better than ever. I don't know where we're going really, there are so many people doing electronic music, it's so easy with the evolution of technology. Today we work much faster, at the same time we have so many new things to manage.
The 1993 track is was talking about is also actually the first EP on yours and Luciano’s Cadenza and we know you have such a good relationship with him. Did you expect at that time the success that the label would have had and the importance that Cadenza had (and still has) for all the house lovers around the world? We can still talk about a “Cadenza-ish" style so I think that it really set the standards.
Actually, the tracks I was doing in the 90s were my own tracks, as part of a project called Access 58. Luciano and I met in Geneva in 2001, and we started working together in the studio. "Orange Mistake" came out in 2003. It's one of those classic crazy music stories. Luciano and I contacted many labels to release the track but nobody wanted it, and we got impatient. So we were hanging out one day together, with his sister Amelie, and the three of us said why don't we start our own label and then we don't have to deal with this nonsense. Hahaha. So we started Cadenza and our first release was Orange Mistake, and the rest is history. Of course, we had no idea what we had started. We both love music and love working together. It's been a while, but there is a surprise coming soon.
"Orange Mistake" is actually #3 in your Beatport chart! It seems that people still love your roots! How do you feel about that?
I'm super proud of this track, it's incredible for an artist to have this happen, to have your creation receive so much love and attention. I love what we did, I think the date doesn't matter, as much as the quality.
Will we have the chance to see you again on Cadenza?
Actually, I released an EP on Cadenza in 2016, called Solitaire. It felt really good to be back on the label. For the moment I have no plans for releases on Cadenza.
You have reduced your music output during the last years, on how it depends on this? Did you focus more on other stuff?
Yes, my style of working has changed a little bit. Before I spent so much time in the studio, I was also super open to doing remixes and collaborations with many people. Then I realised I better take care of business too, today there are so many things you have to do with social media, meeting people etc. Also, I've pushed myself in a musical sense, trying to learn new things and explore new ways. So, for example, I've done a solo album, I've worked in the studio on an album with a group of musicians, including some very talented jazz musicians, I've worked on the score for a television series. Of course, all those experiments take time away from the studio, but it makes me very happy because it enables me to grow as an artist.
How’s your relationship with Switzerland? Talking about your country, I only know Caprices Festival, Breakfast Club and Luciano, but it would be sick if you want to introduce me and our readers into more Swiss parties and DJs.
I moved to Switzerland around 1988, I was already working as a DJ (lol). Since then I've moved around, lived a long time in London, then again back in Switzerland. I'm there quite often and it's where I keep my studio. I love being there, I have good friends. For sure there are lots of talented people. Check out Stade, it's an electronic music project with my good friends Pierre Audetat and Christophe Calpini, both music geniuses. The Attias brothers and their label Visions Recordings, great stuff. Also DJs like Dachsund, Ripperton, Laolu, Garance and Reas, all in different styles and so good.
You’ve also started a project with Italian Cesare vs Disorder. How did you guys meet and how did you start the project, despite having already a nice image as a solo artist.
We met because I was in Berlin in a recording studio with my friend Sierra Sam and Cesare was there. I was talking about releasing my solo album and was not sure which label to approach. Cesare listened right there in the studio and loved it and he gave me such attention and freedom as a label boss, I thought immediately I want to be there. And then we hit it off and became good friends. We decided to start collaborating and that's how our project Azimute was born. We went on tour all over the world, especially in Asia and Australia. That brought us very close. Both our families love each other, and we're always looking for new ways to extend our work. So now we are organizing parties in Sao Paulo and London.
The Cristi Cons for AZIMUTE's "The Secret" on Cocoon was one of the highlights from last year. Any anticipation for the future?
For sure, I love what Cristi Cons did with the track. And also we had great support from Cocoon, always love working with them. So thanks for that! Azimute keeps ongoing 100% and we're currently working on new music. We play together at the Serialism parties we do in Brazil and the UK. Right now we're focusing on work we did for our album, trying to finish it.
Personally, I really like the project of Serialism: from the music to the artwork and the whole idea behind the project. I see you guys are doing a lot of parties in Brasil. How’s the scene/movement in there?
The scene in Brazil is captivating. It's a young scene, so it reminds me of the energy in New York and London years ago. There are great parties, in unusual places. You can still find places like old industrial or warehouse buildings that you can take over to do a party. It's more free. The youth there is very energetic, it's a young population, very cool. I love it. We're very lucky that Fernanda, the wife of my partner Cesare, is a talented graphic artist, filmmaker, designer. Incredible. So she's done all our posters, flyers, promos, album covers, videos. We're just so spoiled to have the best artist in-house (lol).
We know that you're such a healthy person (and I love to run too). Can you tell us more about your hobbies and interests?
Yes, for sure! Apart from music I'm really into sports, especially running. More than an interest, it's my survival, my balance, my happiness. I'm totally addicted to running. And I love food too... so I better continue running!!!!
Words by Francesco Quieti
- Published on Thursday, 25 July 2019 09:03
Ahead of her birthday celebration that will take place at the amazing Hoppetosse in Berlin, we had a lovely chat with the lady herself Monika Ross. Since 2011, Monika had slowly made a name for herself, becoming a staple into the European circuit. Having successful releases on labels such as Serialism, EWax and Druhzba to name a few, she's fresh of her debut on Okain's Talman which is almost sold out on many vinyl platforms. And now let's get "deep" into it...
Hi Monika! You’re from Australia but you’re now based in Berlin. Do you think it’s inevitable to take this step? How much has affected this into your career?
I actually left Australia in 2007 - for London! I spent most of my 20's there and now for DJing and electronic music, in general, I feel Europe suits and inspires me more. Berlin is so far the best move I’ve made - I found my extraordinary booker here (Isabelle Beese) which has been a big breath of fresh air - as well a long time personal goal achieved. I also share this profession and time in life with the most fascinating, kind, talented friends and artists who are also my neighbours - it’s perfect.
I see you’ve worked as an audio engineer for BBC! How was that experience?
It’s the best job I’ve ever had to be honest. It was hard to leave it for a different city but anytime I come back to London I can still step into the broadcasting house for a little freelance work. I have full respect for the company and the quality content they provide.
The big debate about “female DJs” in the scene is always present. What do you think of it? Do you think it’s safe (as a female DJ) to fight for your rights or maybe could work in the opposite way?
Is that in the London scene? In my years of experience, I have felt safe and equal to professional males in the industry. There are so many women with years of experience, content and talent (bringing serious heat right now I must say) but I feel like gender hasn't been a substantial or differentiating point - a lot of guys also really set the standard high. If you’ve got game and you love what you do - you will shine.
You’re going to have a huge birthday party in Berlin alongside Nick Beringer, Diego Krause and many more. Do you think you have reached your “sound” or is it still evolving?
Yes! Big up to these legendary humans who have made my time in Berlin the best ever and have also been there for me for during hard times. I am so lucky to be having my birthday at this awesome venue with my most loved crew. I think I play and am represented by a particular ‘sound’ but I can’t define it in one genre. I still love UK garage and feel like its coming back mixed with minimal Reaching a point where you don't play any mismatched/random parties or events has been a big game-changer for me. Also, Berlin has the biggest and best selection of records/shops available so I always tend to be drawn to new and sonically better music. I still adore and play some favourite, old gems.
Which is the release you’re most proud of?
It has to be my "Funkt Up" release on Okain’s Talman Records. I was lucky enough to have Malin Genie remix which adds the most delicious icing on the cake. We’ve had a super positive response and have sold a lot :) So I’m really proud to hear and see people really enjoy and support it.
Any future plans?
I’m planning to build a studio and own a house. Apart from that, I'm currently concentrating on living the present moment to the fullest.
That's a time to be alive regarding the "deep/tech" movement (if we can even define it). Name 3 young promises that will burn the scene in the future.
Phwoargh tough question! The music industry is blowing up so much and there are so many young guns slaying it. Top plays at the moment are Prodot, Sweely, Reiss, Nick Beringer, Christian Jay to name just a few.
We’ve seen a huge rise in the Australian scene in the last couple of years. What do you think of it? Is it better compared with when you moved to Berlin?
It seems to have picked up substantially over the years, yes. It’s so nice to see the line ups getting more international and share the summertime in Australia with mates from around the globe. In my opinion, the vibe and clientele can be a little different - I like maturity and manner of Europeans (especially the no photo policy in Berlin clubs - get off your phone and dance - winner!)
You’ve played an ambient set for a fashion show? How was that experience? Do you enjoy playing other stuff? Which genres do you like apart from the 4/4 house & techno stuff?
I absolutely love private gigs for clothing brands, fashion launches, lounge bars etc. I can definitely play a full 8 hours of hip hop/funk/broken beats with a lot of pleasure. I miss the Big Chill Bar Sundays in Brick Lane!
Words by Francesco Quieti
- Published on Wednesday, 10 July 2019 11:42
After huge releases and outstanding supports from the likes of Enzo Siragusa, Archie Hamilton, Chris Stussy and Janeret, it's practically impossible not to know the Italian duo of Jamahr. Having EPs on Yaya's "Tamango Records", Rich NxT's "What NxT", Mulen Records, and Politic Of Dancing to name a few, Mario and Jacopo have made a name from themselves during the last years, always providing energetic melodic dancefloor cuts. We sat down with them after their big performance at the last Tamango Records showcase alongside Yaya and Alex Ground @ After Caposile (Italy).
Make you sure to follow Jamahr on Facebook, Instagram, and Soundcloud.
Let’s start the interview with a proper Italian question: pizza or pasta?
As every duo, I’m sure that you guys are more DJ-side or producer-side… tell us more about this.
M: Jacopo is so powerful in the studio, he is way more careful on the little details than me. He’s also very skilled speaking of technical stuff (even if sometimes he makes me go mad because he thinks too much). I think that when we are behind the decks I’m 100% focused on the track selection and I always try to find the right track for the moment
J: I think that I’m better in the studio, I can really focus on the production side even if I’m alone, I don’t know what Jacopo said but I’m a true maniac.
Remaining on the producer-side who works better on the groove and who on the melodic parts?
M: I'm responsible for many of Jamahr's melodies... I really like to make huge trips in my mind, finding the right melody, sometimes I get it, sometimes I don’t.
J: We both have a lot of ideas when we catch up in the studio, but Mario is the melodic wizard for sure!
What’s the key-element on your productions?
M: Definitely the melodic part, which is our main goal in the last couple of years.
J: Some melodic stuff for sure. We really enjoy something “extra” above the standard 4/4 groove.
What would have happened if you have not had met 9 years ago?
M: I don’t have a crystal ball, so it’s hard to say. It’s good that has been gone that way!
J: Who knows… better not think about it.
When you guys met each other did you get along since the first time?
M: Yes, we met in a club (as often happens to the deejays). It’s a very spontaneous friendship.
J: Yes! We know each other for a long time but we’ve always got along on almost everything!
Who did decide the name of your alias?
M: We had the same idea almost at the same time!
J: It was very easy to pick this alias. Still, nowadays, people ask us what “Jamahr” means… well, it’s simply the fusion of our names: Jacopo + Mario = Jamahr!
How do you see each other in 10 years?
M: I will definitely have white hair!
J: In the studio!
Who is the sexiest?
M: If you see us in the dark we are both pretty good!
J: Mario… no doubts about it!
Sunset or sunrise?
Best warm-up track?
M: Andy Kolwes – Sometimes
J: Ricardo Villalobos – Widodo
Best closing track?
M: Rodney Bakerr & Kenny K Collins – Beat My House
J: Beanfield feat. Bajka - Tides (Ripperton Mix)
Which is the record you love the most?
M: Petter – Petter Some Polyphony. It’s the first one I’ve ever bought back in the days.
J: The Doors’ album “Strange Days”
Do you guys have any secret wish?
J: Cadenza (I’m pretty sure that Mario said the same)
What's the most inspiring DJ-duo?
M: Livio & Roby with no doubts. They have quite a long career and they’ve always shown style and elegance in every production, always looking at new influences but without losing their trademark imprint.
J: Livio & Roby. They’re such amazing producers and a big source of inspiration for us.
Which is the best track on the podcast?
M: DJ Buck – Highlights
J: Jamahr – Kamigawa (out soon...)
We’re getting close to the end of this interview… any advice to the newcomers of this world?
M: We still have a long road ahead of us before giving any tip. First of all, I would say “humility” but this doesn’t mean to lower your heads. And then I would say to listen to a lot of music of any kind… there is a lot of good music that we even don’t know about.
J: We still have to improve a lot both as DJs and producer but I would say to listen to a lot of music is the best thing, and of course always believe in yourself!
What are your next steps?
J M & J: We have three upcoming various artists: one for the 5 years birthday of French label by Politics of Dancing, one for Muzi Cartel (which is currently releasing a lot of quality music) and another one for (we can’t say atm). We’re very hyped for this also because we will “share” these compilations with a lot of friends. And lastly, we will announce very soon the born of our own label! It’s going to be called “CAPTEA” and we would like to thank Memoria Distribution for this great opportunity. Stay tuned for more info.
Words by Francesco Quieti