Mobilee once again delivers hot and heavy music this time round care of the excellent Re. You who equally pulls few punches with this electronically, sonically charged stereo assault. The blistering Acid informed lines of Dreams set movement in motion with tense, intense rhythms that both inform and invigorate the airwaves. Contrasting perfectly are the deeper, more soothing tones of The Feeling as bubbling bass notes drift over uncomplicated drums to help ease the previous tension.
Killer production from Vincenzo who cleverly fuses timely Detroit styled basslines together with haunting synthesisers and an Acid attitude which is telling complimented by Cari Golden’s resonating vocal input. The tension gets resolved by a rush of emotive chords later on but the subtleties and creative nuances in this arrangement are excitedly rewarding throughout. Also coming with an Instrumental version, plus with an electro fuelled Smash TV feeling suitably charged and excellent, you can’t go wrong either way. Next, That’s The Way retraces more familiar territory with probing keys working their way into your consciousness over five minutes of compelling engagement.
Brimming with intent this production from Neverdogs kicks into gear with the splashing hi-hats and pointed bass of the aptly titled Music Make The People. Then the snares hit with flagrant disregard alongside commanding drum rolls accompanying treated voices to further ignite the atmosphere. The nervous appeal of State Of Blind follows with melodic sensibilities informing the taught rhythms, once again aided with their flair of creative input.
Hello and welcome to Magazine Sixty Ben. Your striking new single: Reaching is out on Get Physical. Can you tell us about where the inspiration came from for the unique blend of sounds which informs the music?
The initial melody for Reaching came from my playing the piano in between periods of working on another track. I was playing the rising tones and developed it into a chord progression, which quickly sounded complete as an idea. Coming away from it, I developed a clear impression of the overall sound in my mind, so the sound creation really came from subconsciously thinking about the tones and movement and how well I could translate that to the recording. My acoustic piano sound remained in the recording until quite late, but I felt it too cold so I eventually replaced it with my Roland electric piano for a warmer touch.
Your distinctive, original style touches upon various influences. Could you talk us through what inspires you both within and outside of electronic music?
The most influential era of techno music for developing my production was during the more minimal years of the late noughties. It gave me an appreciation of hearing the individual textures of sounds and how the spaces between beats could enhance the groove. As far as other forms of electronic music are concerned, I’m heavily influenced by the intricacies and almost tangible qualities of glitch and the tension and harmonics of ambient. There’s no restriction to the many styles of electronic music that could inspire me though, especially if it offers a fresh perspective. For example, the Autonomic half step sound from Exit Records was a great source of enlightenment for me. I’m a lover of film music, which inspires a new project that I’m working on called Non Faction. It is an instrumental and electronic music project focussed on incidental compositions interesting soundscapes and rhythms, with vocal / instrumental collaborators.
How important is musicality and innovation in what you do? Do you think some of today’s ‘Dance Music’ is missing something, or do you think that music and club culture are evolving in a positive way?
Innovation for me is the most important aspect of the arts in general. The artists who have been the biggest influences for me have been massive innovators in their field, so that’s what’s worth aspiring to in the long run. Musicality is both knowledge and innate understanding of music, so I think covers all good artists and their material. I think with a traditional view of musicality, it falls short of explaining what current music and musician’s offers. For example, an artist’s ability to compile and engineer soundscapes or when they can build a beat with an attitude that it’s almost a character. These elements are musicality too. In a more traditional view, music theory and instrument performance inform a lot of the music I write, but they’re not necessary to everything. To mention, I feel the studio can be considered an instrument in its own right.
It would be great to see more variety at individual club nights. Gone are the days of the chill out rooms and I’d love to see something like that return or combinations of different scenes that may surprise you. That’s more about the culture than the music though. I feel all forms of dance music that were created before exist in some form today, it’s just very compartmentalised.
Get Physical asked me to include artists with strong links to Ibiza and openly said that the sound of the compilation could cover anything from sunset through the morning, to reflect the true spirit of Ibiza. I reached out to artists I really respect in terms of their production who I knew were resident or were residents at nights / venues here – for example, Nima Gorji resident at Underground, Alex Kennon from Insane / Mosaic at Pacha, Frank Storm from Unusual Suspects, Eder Alvarez & Joey Daniel from Ibiza Talents / Bora Bora and Music On respectively, Clara Brea from Heart and System Of Survival, Audiohell, Tania Vulcano & Jose De Divina from DC10. It was important for me that the compilation also represented my own style and was true to my own personal tastes, as well as being in line with Get Physical’s label sound. The compilation includes some of my own brand new productions (a solo track “Reaching” and also a collaboration with Spanish producer Enzo Leep, “Cosmos Excerpt”), and I also worked on new edits for Tantsui and System Of Survival – both on a deeper, more downtempo vibe for the compilation’s opening. Every track on the compilation is previously unreleased and completely exclusive.
Radio almost seems like an old-fashioned idea in the digital world but its importance in communicating music has not diminished. How do you feel radio functions in 2017 and please tell us about your weekly “We Are Night People” which is broadcast globally on both Ibiza Sonica and Pioneer DJ Radio?
When I was young, I never used to listen to the radio. In fact, the idea of me being a radio host would have been very alien to a young me. But that is mainly because radio stations that were available did not present the music I was looking for at that time. Since then, we’ve had expanses of radio stations added with DAB and now internet radio, so it caters for more individual tastes. I listen to more radio now than ever before and that’s because of the variety of music available to stream and I can listen to Sonica in the car. We Are Night People is my weekly radio show to present the music and artists that I’m following and listening to. It’s focussed on club music with my preference of minimal grooves, deep selections and quality underground productions. I have regular guests that coincide with the music I play and I feel the show has built a solid style and family over the last 3 years. On a personal level, I’ve made many friends and collaboration partners through my contact with artists for the show.
Your studio looks amazing. How long did it take to get it to where you wanted it to be?
Thank you! I used to dream about having an amazing studio for many years until recently, despite building my setup for nearly 20 years. With the latest additions of Dynaudio B15a speakers, the awesome looking Artnovion acoustic treatments and Ableton I can say I’m now happy with the setup and I don’t have those dreams any more. I bought my first (Roland JX-305) synth at 14 and it’s been a gradual expansion since then. I’m super happy with it, but doesn’t stop me looking at the Dave Smith Prophet 12!
Do you have a favourite instrument? Do you own one?
Most of my tonal ideas start with the Synthogy Ivory II piano. The piano is my favourite instrument and it can provide insight for all styles and rhythmic and harmonic aspects. When my girlfriend and I designed our house, we kept a space for a grand piano, but we haven’t got it yet!
What are your plans for the remainder of the year plus for the next?
Much time will be spent working on more original, remix and collaboration projects with the awesome Enzo Leep, Iori Wakasa and others, with releases planned through the year. I’ll hopefully catch some good time to work on more Non Faction music too. I’ll be busy in the summer with various parties in Ibiza with the likes of Ibiza Sonica, Others, and Unusual Suspects, as well as the occasional sunset set which I love to do. I recently played Nicole Moudaber’s MoodDAY party in Miami, and I’m hoping I’ll be able to do more with Nicole. There’s of course my weekly radio show and the very important task of spending time on the beach!
Hi ! Thank you for asking. The inspiration came from attending last summer’s Ibiza season. After listening to so many different styles of music and watching countless amazing artists perform, I decided to make something special for the upcoming season.
Can you talk us through how you produced the track, including any favourite things you like to use in production?
I made this track in my studio in Ibiza using lots of internal plugs and I recorded my friend Isabelle in there, using her vocals on top of a melody I had composed for her. I was really excited as I’d gotten a brand new microphone u87 from Neumann and was eager to use for the first time in my studio.
‘Oh Mama’ features the emotive vocals of Issa Elle. How did you get to know her and ask about doing the vocal?
I’ve known Isabelle from quite a long time. She sang on my first album back in the days, in 2003 precisely. We stayed friends throughout the years; and when she told me she was coming to Ibiza for a few days during the season I immediately felt the need to include her back in my music. I’ve always loved her vocals and magical ideas.
What importance would you place on vocals/ song writing in Dance music today?
Well it all depends on the kind of dance music you write. If it’s like a fully commercial song or a pop piece, where the vocals are the main instrument, then by definition they are totally necessary. In underground music, there aren’t usually so much vocals, though once more it all depends on your tastes and inspiration of the day. Maybe the vocals in underground tech house tracks could become the main instrument as well!
Can you tell us about your background and which DJ’s/ Clubs inspired you to become a DJ/ Producer?
I started to make music in 2000 and made about 11 albums and a bit more than 350 tracks under different names. It was a totally different genre of music back then. What I am making now is inspired by Ibiza and all the people you meet there throughout the year. Everybody is an artist here, almost everyone is a DJ, and we are lucky to have a huge range of top artists coming over here, and who inspire you to produce music. I can proudly say that Jamie Jones and the Paradise parties have had a big influence on me since day 1.
What inspires you outside of the world of House and Techno?
Everything inspires me. From a water drop falling into a river to the sound of the wind. I used to be a dance and sports teacher so any good rhythm actually does the job and makes me wanna dance and re-create the beautiful sounds I listen to all day thanks to Mother Earth.
Do politics and Dance Music mix? What do you feel are the politics of Club Culture at the moment?
Well for me they don’t …. In my opinion they are as starkly opposed as the Yin and The Yang .
I love it as well. It’s by Mikey Brain, the Hot Creations illustrator based in London. He listened to my music and offered a few ideas but the both of us fell in love with the actual cover. It was just obvious that it would perfectly fit.
Can you tell us about Hola Sundays! And how is life on Ibiza this year?
Hola Sundays is the weekly Sunday winter social party organized by the magazine Fiesta and Bullshit. It takes place every Sunday at Ocean Drive in Ibiza. It’s a really friendly environment where we play and live stream it for our friends around the world. Life in Ibiza … This year has so far been very much like last year, just truly amazing !
The track name for ‘Skies Are Crying’ is based on my experience on a flight I took to Berlin last summer. When the plane took off it rained pretty hard, so in a literal sense it felt as though the sky was crying and it was a strangely beautiful sight. When I came home I took this as inspiration to finish the track and so named it after this experience. The other track, ‘Grace’s Secret’ doesn’t quite have the same sort of thoughtful story behind its name. It’s named after a racehorse in the Peaky Blinders TV series!
Can you talk us through how you produced one of the tracks, including any favourite pieces of studio gear you like to use?
I really like to use my guitar, because playing on the guitar always calms me down and the combining of electronic parts with acoustic elements is one I really enjoy. It can lead to some very interesting and unexpected results! Also, I like to record all kinds of common sounds and noises in everyday life. Everything can be used in music and I really like the versatility of things. In terms of favourite pieces of electronic kit, I’m very impressed by the Roland TR-8 – it’s such a nice machine, especially for its cost! I really love that piece of equipment.
When I released my first tracks on Eelke Kleijn’s Outside the Box Music label, he advised me to spread my releases on different labels and introduced me to Paul. From that moment we have had a really good thing going on. Paul is a cool and friendly guy, realistic and knows what he is doing. Therefore I wanted to release my album on Manual (‘Grace’s Secret’/ ‘Skies Are Crying’ is a first taste of what’s to come) because it feels trusted and natural to do it on his label.
You played guitar in a Punk band before immersing yourself in Electronic music. What ideas/attitude did you bring from Punk into Dance music?
Probably the attitude of being really, really stubborn and not willing to let go of your ‘own thing’. Besides that I also like to use a lot of distortion, something that is also really common in the punk scene. But the most important thing, I guess, is the no-nonsense attitude, just being myself and enjoying making music, like it or not.
What DJ’s/ Clubs first inspired you?
The list is endless, but to name just a few… Awakenings Festival was the first Techno festival I went to and it had such a big influence on me. Before that day I actually didn’t like electronic music that much. At least that was what I thought! The atmosphere, so many friendly people, and interesting and complex music made me want to be a part of this straight away. After that day I bought my first turntables and learned how to make music – that was 10 years ago and I still have that same passion and enthusiasm I had back then.
If I mention musicians that have inspired me, I always have to name Extrawelt and Dominik Eulberg in my list. Their sound is still the ultimate for me and I was so proud that I could make a release on Traum, just like these guys. Right at this moment I’m also really liking guys like Ame & Dixon. That’s maybe not a very surprising or original answer but, everywhere these guys play, it’s always so good and I’m really impressed by that. But there are so many very good artists at the moment, I could fill a whole page telling you about what DJs I would recommend that you should listen too.
What can we expect from your debut artist album ‘Figments Of My Imagination’? And how long did it take to put together?
This album is a translation of the last three years of my life. So the good things I experienced, the bad things, the pain I felt, the highs, the lows… So I think it incorporates a very versatile character. For example, the track ‘Standing On My Feet’ is about the infection I had in my foot. The doctors were fearful that I would lose a couple of toes or a part of my foot, but after being in the hospital for a month and then 3 months of antibiotics, the infection was gone and I could keep my foot. Thank god! But the pain and despair I felt at that moment is very easy to recognize in that track in my opinion. Then, on the other hand, a track like ‘You Put A Smile On My Face’ is about a girl I met and who made me very happy at that time…
How is life in Breda? What clubs/bars would you recommend?
Things there a really quiet and burgundy… The scene in Breda is in upswing with some nice projects such as Ploegendienst and Broeikas. For the more known parties, such as DGTL and Awakenings, you have to make the one-hour trip to Amsterdam and its surroundings.
Please tell us about your forthcoming tour of Holland? Plus any other plans for 2017?
For this moment we have three shows planned in Amsterdam, Breda and Groningen, and I hope to do a little private party with a live stream of the show. Maybe we will add some other cities to the tour, but at the moment this is it. Further plans I have for 2017 or the distant future are setting up a label. My brother and I are playing with the idea of starting an electronic music label and are exploring the possibilities right now. It’s still in its infancy but we are working on it.
Italian producer Lorenzo Panico sets sounds in motion for the launch of his brand new imprint with four kick-ass productions evolved from the creative mind of his alias Six Fingers. The tastefully intense Jazz Reverse begins by fusing furious bass together with pumping kicks plus the whir of filtered grooves. Hints of a sample appear here and there, heavily treated to keep you guessing but remaining resolutely original all the while. Modern Cassette proceeds with more brutal beats and a weird array of fizzy sounds that vie for your attention – almost Jazz, almost Techno. The excellent hot and heavy machine drums of Plesaure MPC Zone follows, leaving the brisk potency of Vivi the Soul to complete with hints of Acid alongside twisted voices tweaking the airwaves.
Love this no holds barred production from Joel Alter who revisits his alter ego producing four equally hard-hitting numbers for his own True Rotary Recordings. BMF kicks things off with brutal, heavy-duty basslines finding meaning in amongst the grainy electronics and tough beats. Bushcraft, then follows care of more rigorous drums this time augmented by stereo wide stabs which set your emotions on fire. The unnerving Rats In The Walls lives up to its title with darker sensibilities exploring their pathway, as the equally questioning Dream World ends the release with further moody synthesisers undulating across tight drums and a true sense of urgency.
A fabulous release of music and emotion from Nico Stojan who with the aid of JAW’s smoky, delicate vocals produces sounds that impact on both body and soul. The Original version is a thing of beauty with subtlety being the key here (rather than the usual mush of cliques that passes for a lot of so-called dance music today). The beats feel sassy, though restrained, leaving space for the strummed instrumentation to define the air in-between as the voice dances and the bass sings out Jazz fashion. Remixes come from NU, and Britta Unders who both lend their individual stamp to the track, although quite possibly the standout version is the beautifully realised Acoustic Remix which flies free and loose care of atmospheric strings augmenting the guitar and gorgeous bass notes.
Release: June 2
Oh Mama lends Hot Creations more than just a punch as this heavy fuelled, excitable production lands both fiery vocals and smoky grooves directly on your imagination. The melodic voice of Issa Elle adorns the rhythms as brutal kicks plus throbbing bass proceed to do pure damage to any remianing sensibilities. Cuartero’s choice After Remix follows that with probing electronics tuned into the heart of the matter, while shuffling splashes of percussion and chiming synths capture the rest. Like A Proper Star, suggests the question while returning to deeper notation to provide the perfect antidote to midnight excess.