Marking their first album together since fifteen years of making music Frank Wiedemann and Kristian Beyer have produced this eloquent, rather beautiful soundscape as the aptly named Dream House. From the moment The Line featuring Matthew Herbert begins you get the feeling you’re about to engage with something secretly special. And it’s not just that the music encompasses such a broad history of European electronic Dance Music (as guest appearances all leave their mark) but also because there is a sense of time spent honing, creating this rich abundance of musical escapades. As the past informs ideas it is of course down to the artists themselves to in turn do something imaginative with that. So nostalgia is abandoned. Having said that the playful musicality and fizzy, analogue sounding sounds all piece together memory and location mapping out goals and intention. From the sleazier downtown hi-energy syncopation of the tempting Queen of Toys to the crisp drum machine pulses of Positivland, via the the chiming messages of No War, the tracks set the pace in the direction of classic. It’s easy in this day and age to make music but it is much harder to create it and to do so with such forceful resonance.
Hello and welcome to Magazine Sixty, Daisybelle. Let’s begin with your new single with Rob Savage for Love Story Recordings: Always On. How did the connection with the label come about?
Well, I am a big fan of Carly’s work so I have been following her label. But we are also friends so she is someone that I always like to get an opinion from on most things.
And can you talk us though how you co-produced the single? Plus tell us about the Acid and classic House influences which are in there too?
Well this single is a collaboration with Rob Savage who is a really talented producer. It started off as an experiment as we’d never worked together before, but it just kind of flowed easily and we liked everything the other did to be honest. There was nothing either one of us of didn’t like. The acid part of it comes from a love of acid house and was actually inspired by a collective of DJ’s I play with often who love acid in all its forms 😊and the classic house you’re hearing in there definitely has Rob’s stamp. He’s so good at creating and maintaining a unique groove, I really loved working with him.
Your music contains a funky sense of musicality. I was also wondering about your influences in terms of outside of electronic Dance music?
Oh thank you, that’s really nice to hear because that was definitely the aim. Well, I actually love many different genres outside of dance music so I do try to bring some of those elements into my music and my DJ sets. I love anything that has soul to be honest, from reggae, funk, ska, jazz, cumbia, rumba, bossanova to salsa. I just love music that makes me feel something, anything. I am also a huge fan of Professor Longhair who’s New Orleans R&B makes me so damn happy. My parents were both musicians when I was growing up, and they were very eclectic too so a lot of my influences come from them as well. I find myself often asking my mother to remind me of artists she used to listen to so I can dig around for new old stuff.
Tell us about the choice of Joss Moog as remixer? PS his version is excellent.
Joss Moog simply has the mightest touch! Everything he touches…turns to gold! His stuff is just so funky and addictive! Plus everyone was super excited to have Joss do the remix as well so it was a unanimous decision. And he delivered!
Where can people get to here you play this summer?
This summer: well I will have my new monthly show on Bloop, my next gig which I can’t wait for is F.U.M.P (For Underground Music People) this May bank holiday! It’s a mini festival in a field in Essex which features a small collective of DJ’s and a group of regulars who never miss an event and who are the most devout crowd to play for. It’s been growing a lot recently which is nice to see.
I also have a couple of dates at Es Paradis in Ibiza in Jul & Aug for Brandon Bloc’s new night, and I am beyond excited to be playing for Melon Bomb again at Pikes in Ibiza this August. Then I come back to London to play for Mutiny which is a super fun boat party which will also be a real treat! Yey!
How did you find your recent experience of broadcasting on bloop? What still makes radio an exciting medium for you in today’s digital world?
My first show was a good experience, its such a great platform still. To have a designated time each month where you have complete freedom to play whatever you want to share with your listeners is priceless! You can also connect with people from anywhere in the world.
And finally. Tell us about how you would like the remainder of 2018 to shape up?
So far 2018 has been good to me, so now all I can hope for is that people enjoy the new single when it comes out and I would like to finish a few more projects I have going on. And also for lots and lots of people to want to book me to play in amazing exotic countries ha ha.
Sometimes music tries so hard it’s boring. Like when people are desperate to escape into the past. Then again you hear something that sparks your imagination illuminating the horizon with a sense of forward-reaching excitement. Oldrich Sic Jr. delivers that Acid attitude in abundance as searing, syncopated high energy bassline roll out across the future backed up with strident self-propelled drums on the opening Well. Next, Thought Out probes at Chicago sensibilities with bubbling bass plus shuffling drum machines combining to enrich the atmosphere tainted with familiarity, but not so much so that it’s not a dangerous sounding proposition.
The title track from this latest release via Beef sees the artist tease out all that was good about Acid House in the first place and then inject a little more about 2018 into the notion. An excellent arrangement sees ideas float around then colour a mood board with sounds which carefully breathe soul across the bubbling 303 motifs care of hazy, warm emotive pads. Next, Depth Scan gets tougher with energetic basslines syncopated into a funky low-slung nirvana, with Florian Kupfer’s remix adding a brisk distortion to the drums while allowing room for the accompanying undulating waves of synthesized Acid.
Let’s set aside categories just for a minute and simply enjoy the music. Metropolitan Soul Museum’s blurry, grainy escapades into sound feel soulfully resilient here especially on Deeh which begins the EP. Its engaging swirl of emotive pads set the scene for a bassline which you know means the world to the person who created it – and to us. Speaking without words this journeys into the soul of the matter. Remaining numbers see the brightly imagined Acid fuelled RRR, a brutal kick drum informed title track, and finally a Detroit inspired Fiamme all justifiably competing for your attention. And all succeed in igniting the emotive flame.
In ways the elements contained within this production are as old as time. And it really should come as no surprise that they sound as resilient now as then. Jazz and Blues have always formed the cornerstone of much of our music and therefore this beautiful combination of both sounds typically resonate given the uncomplicated fashion in which they have been delivered. The percussion informs sensation while the jazzy keys weave their sunny magic all over the stereo as timeless loops repeat endlessly across eight minutes of relative bliss. A simple formula really, but of course one that speaks for itself. Next the Nicolosi brothers get to the heart of the matter delivering a raft of sublime instrumentation teasing out the very essence of the piece via their Ambient Mix, which in ways is all the more important in terms of musicality and the transition of movement.
In the sheer rush to get to the next two tracks I’m kind of bypassing the opening Outlaw. I don’t know if that’s necessarily right but once to get to grips with the fevered excitement, infact the surreal beauty of For It you’ll perhaps see my point. This is the kind of energised, Acid number that we could do with a lot more of. It pulsates with loaded percussion while expanding and getting hot in all sorts of ways. Then, Right Up completes the picture care off the sort of twisted Disco that shames tired re-edits while brimming with tough, compelling repetition that is at once heavy-duty plus funky as hell.
What I love here is that this says it all. It’s a mad, crazy combination of ideas that all at once fuel the psyche with excitement and the need to play at full volume. At first the furious basslines and chiming keys may seem like that’s all there is but behind all that bumping intensity is a rich array of possibilities rushing forward from hot breakbeats to heavenly vocal ambience. This is an excellent, forward-thinking production. And you’re going to love it. Next is Burnski’s new alias James Solace who takes a breath while highlighting and then transforming Needle To The Groove into a more progressive, cosmically charged epic. What more could you ask for?
Such a wonderful album full of resounding delights and just as impressively this forms the first release in a series of three albums all due this year from the artists own label. When sometimes in world of rapidly delivered ideas music gets repeated into an endless, mindless void devoid of meaning it is refreshing to grapple with this set of imaginatively emotive sounds. The edgy synthesised ambience generated by the opening Room With a View is soon turned upon as the following funky brushstrokes of Not Your Usual Thing play an altogether more playful melody. Next the excellent Cleopatra on Acid seeks out more minimal climbs, while further afield the tracks explore a diverse range of the technological yet always highlight feeling and atmosphere. Completing the album are the spacey futures created via the drum machine fuelled Belles, and then the brilliant twisted syncopation of Drive Anywhere which is quite the statement to finish on.
Hello and welcome to Magazine Sixty, Gel. Let’s start with the launch of your new label Closed Circuits. How and why did you decide to start your own imprint?
Hello hello Greg and thank you for having me. well it’s been on my agenda for a long time to have a good home for my music and likeminded artists I like , when the right opportunity accrued I just went for it .
(Photo by Moses Pini Siluk)
The excellent debut release is from Oskar Szafraniec featuring Very Addictive. How did you get introduced to Oskar and how did it feel to have such a spine-tingling vocal to announce the arrival of the label with?
It’s quite a story actually cause I know him by Facebook and from time to time he sent me music, then the label starting rolling and he sent me like 20 tracks or so as demos and first time I heard borderline I had this crazy goose bumps you get rarely from music, then immediately I signed him and since then we become really good friends and making a lot of music together, he is a genuine human and super talented artist. I am very happy to have him on my label!
You also provide a remix of Borderline. Can you talk us through how you produced it, from the initial ideas to the final arrangement including any particular pieces of software/ hardware you like to use?
I like my music very straight and groovy , that’s why I always start with the main groove , a strong hypnotic loop it’s all what needed to hook you into the rhythm , my creative process is always changing and I’m not always using a specific hardware or software , I just like to go with the flow and try new things.
In this context can you tell us about what importance you place on vocals/ songs in Dance Music as opposed to rhythm and instrumentation?
My music in a way is always been groove based but vocals when they touch you they can destroyed dance floors in the best way. For example an intense techno or more rhythmic kind of set when there is a lot tension in the music and groove and after 45 min or 1 hour of that sort of set, you drop that special vocal track, you give the people fresh breath of air and smiles all around. The vocal for me at least has to be unique and not cheesy, borderline is the great example of it for me melancholic yet very touching.
And can you tell us about the striking Artwork you have chosen for the label?
Yes off course the art work been done by my longtime friend Daniel Zaken from Tel Aviv , he is in a way the king of art for night life in tel aviv over 20 years , making flyers to the best parties and venues throughout Israel. We talked about ideas and I gave him some references I liked. I really wanted something colorful and positive and he execute in the best way there is, really happy from the art work, the new ones are also stunning
Outside of House/ Techno who gives you the most inspiration, in terms of writers, musicians, artists etc?
Well I am big fan off Depeche Mode , Martin Gore is I guess one of the most talented artist in the world to me , Kraftwerk , Radio Head , I also love bands from the 60 s like father and The Mothers and stuff like that the music there is real and flowing .
As a DJ who plays all over the world what impact would you say Club Culture has had culturally/ politically beyond its entertainment value?
In the end of the day we are there for the love of music in the most profound way. I think music can bring people together from all sort of countries including countries with conflicts, if only music will replace the politics we would all be in a better world.
What are your feelings about nostalgia in music?
Well I am a dj 27 years, I started off very young at tender age of 13, I enjoy from time to time checking my old records that gives you overview of how the music changed over the years and personal moments I had with some of the records I played, some euphoric moments it’s nice to remember there is some amazing stuff I have in my collection.
Also it was much simpler back then the only things you needed to do is to dj and make music, today is a bit different I do believe to become a better artist you should know your history about dance music and in the same time also be innovative and open to new things all the time, there is some great music coming out this days.
And finally. What plans do you have for Closed Circuits moving forward? And what advice would you suggest to people thinking about submitting their music to the label?
I have the next 3 releases sorted stuff by myself, collaboration with Oskar and ep by Stephan Bazbaz a talented producer from Tel Aviv, some great music in there which I very satisfied with.
Advice I would give to people want to submitting a demo is try to be unique and not obvious, always groovy and with that something extra you don’t hear regularly that for sure will catch my ears