Christian Burkhardt’s fizzy production positively sparkles with imagination fusing the words liquid and funk together explosively. Wrecking Loop opens working a series of bass sounds into distraction as the excitement gets twisted, feeling nervous around the edges. However, dig deeper and a wealth of atmospheres are revealed lending it even more notable distinction. The aptly titled, Bass Love follows channelling the 1990’s into the equation as tough drums offset the low-end amid the loop of nostalgic voices. The crunchy, Swiffer ends adding the sting of Acid over shuffling beats and a bunch of attitude, completing via delicious intensity in brutal stereo.
Yulia’s imaginative use of sounds which appear at just the right moments lift this way beyond the usual repeating rhythm tracks. Yes, the rolling bass and raw drums all produce that addictive sense of wanting more, but it’s actually the introduction of simmering Acid lines alongside an unexpected, yet resolutely stunning, breakdown which set Cheap Story cleverly apart. The equally fiery, Not For Everyone follows again playing with acceptable notions while letting creative fever run free via more hot Acid this time complimented by the rush of emotive chords, which only heighten the levels of intrigue. Either way a great release.
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?
Hello and welcome to Magazine Sixty David. Your latest release: A.D.D. EP is out now on Hottrax comprising of four equally energetic tracks. What elements are most vital to you as a producer? Do you think it is important to be seeking out new sounds as an artist or do the older ones still do it?
The bassline is usually the first element I start with as I think it’s the most vital element of a track. As for newer or older sounds it’s definitely a healthy mixture of both. I love my classic 909 hats and claps with futuristic spacey synth elements to compliment it.
Can you talk us though how you produced one of the tracks from the release. From where you get your inspiration from and how you then turn those ideas into an arrangement?
Usually when I start a new track the inspiration comes from a new machine or plugin that I just bought. For instance with A.D.D. i had just bought the TC Helicon Voice Live Touch 2 and used it with my voice to create the A.D.D. hook. This was the same case with Playing in Space. I put down the drums, a few elements, and then just improvise an arrangement on the fly recording in Ableton and tweak from there.
How did you get together with the label? And how important is it to you to have your music signed to a certain label?
I passed some music to my long time friend from NY Lauren Lane, who passed it to Jamie, so shout out to Lauren for linking us together. I think its very important to have your music signed to a certain label, because everyone will associate you with it.
Listening to your DJ mixes it strikes me that you have a wealth of differing influences going on. Who has inspired you most both within and outside of electronic music?
Well I started out as an hip-hop/open format DJ so for many years I did all different types of events. From high fashion events to ghetto hip-hop, so growing up playing like this has kept me open-minded to play across the spectrum.
Tell us about life in New York and how Dance Music has evolved for you there? Do you have a favourite place you like to play at?
Life in NY is great, there’s so much energy and diversity, but the dance music scene has definitely changed. Seems like every year NY is getting stricter with codes, shutting down parties left and right. It’s a bit discouraging, but I hope this changes. As for places to play in NY, my favourite room at the moment would probably be the Panther Room for its intimacy.
What for you is expressed though rhythm (instrumentation) that isn’t expressed though words (song)?
The instrumentation for me ultimately expresses the mood of a track. Words just compliment it.
And finally what are your future plans for the remainder of 2017 and into 2018?
Will return back to my apartment in NY after a long first summer in Ibiza. Looking forward to spending most of the fall in the studio to finish some open projects and collabs I started. Have a few collaborations with Guti and a collab with Jessie Calloso that should be out on Cuttin Headz in October.
David Berrie’s four tracks amount to the sort of brutal intensity that sits easily on the hips. Shaking, grooving you while at times transporting you out of the building. The title track, A.D.D suggests all that plus more with its vocal refrain referencing: this is place where I wanna be, while serving up a course of unrelenting, fast beats and addictive Acid bass which you won’t forget in a rush. The cheekily titled Hands To Pants follows with big-time low-end sizzling across whirring keys and brisk drums, as Playing In Space suggests the future via a cryptic succession of electric’s. The heavy duty feeling Personal Opinion competes the message care off repeating, blistering rhythms that all at once leave you shaken, breathless with the emotional reward of not quite knowing what happened?