Noha Q&A

Margherita Castriota Photography

Welcome to Magazine Sixty, Noha. Let’s start with your stunning release for Oscillat. Can you tell us about how your relationship with label happened?

Well, everything started one year ago, with me meeting up with Sam (S.A.M.) when I moved back to Berlin. I went to hear him play as we already chatted and exchanged some music without ever meeting. Few days later we were already becoming good friends and making some beats together at his place.

In a very spontaneous way I then started sending him lots of unreleased tracks that he eventually started to play. That’s how the other two components of Mandar, Charlie and Nick (Lazare Hoche and Malin Genie) discovered my music. In the following months I started chatting with Charlie and working on a remix for his “Time Guard Ep”, and I finally met face to face with Nick, as he was visiting Sam. When, months later, they asked me to send them something for Oscilalt, It felt it was the right thing, as I understood that beyond being friends we shared the same vision on music in general.

The title track, Nobody revolves around a series of voices. What’s the story behind them, and how important is the human voice in music for you, as opposed to purely rhythm?

For me integrating voices is a very good way of giving an intimate feeling to the track. It might be used as a percussive element, but I prefer when it also brings emotional content, a story.

The track explores an exciting series of ideas. Can you talk us through some of you influences both within Dance Music and from outside of it – any writers, painters etc who have also inspired what you do musically?

As I was finishing high school I was getting deeply fascinated by the idea of Minimalism, especially applied to architecture, design and painting. I guess American Minimalism from the 60’s became the main focus. Especially Mark Rothko. I remember that I wrote with a marker “Simple expression of complex thought” on my Wallet, taken from the manifesto written by Rothko and Adolph Gottlieb. Yes, I was young and naive. But I understood back then how I wanted to express myself.

Can you talk us through the process of how Nobody was produced, including any particular favourite software/ hardware you like to use?

I was working on this loop for days, and I got stuck with it, wasn’t going anywhere. I understood that I was trying to force a direction, not really letting my intuition dictate what to do. I suddenly felt a heavy sense of melancholy and I said to myself “ok let’s try again now”. In a few hours the entire track happened, and If I think about it, I get the feeling that the track did itself.

Regarding how it was made, like most of my track it was a mix between analog gear and software. This track will always remain an important lesson, a reminder that intuition and acceptance of where I am emotionally should guide me.

buy https://www.deejay.de/Noha_Nobody_OSC015_Vinyl__353125

How would you describe the importance of Dance Music culture in today’s world, relevant to political and social life? As you have lived and visited different cities would you say there are there certain things which unify us through music?

This is a very controversial topic. Clubbing can be an escape from reality and at the same time a chance to embrace a primordial connection with others through dancing together. It comes down to what one wants to make out of it, it can either be a moment to get fucked up with your friends and finally let loose after working as a machine for an entire week, or the most enlightening experience. I am not here to judge anyone.

It sounds terribly cheesy, but for me Music itself is a universal language. The most interesting part of touring, apart from sharing the music you love with a big crowd, is to meet up with local djs and producers, get to know their stories, visit their studio and share experiences. We all have to thank the music for this, a common love that creates a community free of racism of any kind. And we need that more than ever right now.

And finally. Please tell us about any forthcoming plans for the summer and remainder of 2019?

Summer is going to be busy, there’s the Nobody ep coming out followed by the next Patagonia release (me and Alex Tea joining forces) coming on Panickpanick and the launch of an edit label where I’m going to finally share edits that I have been playing for the last year.

The next gig that I’m looking forward to is an all-nighter at Underbron in Stockholm, the 26th of July.

Aaaaaand, for the first time in 4 years I’m going to have a 2 week vacation, a road trip in Sicliy with my best friends. No studio time! Time to switch off.

https://www.facebook.com/nohabekind

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reviews:98

Tom Trago
The Light Fantastic
Rush Hour Recordings

tomTom Trago’s third album simmers with electronic tension dancing between light and dark moments during the course of its duration. Summing up the excitement are plenty of great tracks such as the For The Children which combines frisky beats, buzzy stabs and vocals to stunning effect, plus the aptly named Jack Me with sleazy Chicago styled rhythms accompanied by suitably daring vocals. The Acid inspiration then continues on Cosmic Blacksmith but as the album doesn’t sit still for too long the style soon changes again with the excellent Two Together pumped full of blistering Disco energy. The Wrong Right, is another notable production with its shuffling percussion and haunted piano motif preceding, I Still Desire which ends on yet another angle with its dark thread of brooding bass and tastefully moody vocals.

release: October 21

http://www.tomtrago.com

http://rushhourmusic.com

 

Datakestra
Tokyo Life E.P
Black Vinyl

BVRDD090_DIGISLEEVE_600There’s something about the succession of descending notes on Sweet Dazing that just makes you want to turn the volume up. And when you do the brittle combination of punctuating beats and raw-edged stabs sounds all the sweeter. This is an excellent House Music production from Japan which isn’t really bettered by the remainder of the EP, but, when it’s this good. Purple comes close in intensity, while Smoky City has an almost jazzy feel to the rolling piano, and Limitation is anything but with funky chord progressions feeling bright and breezy.

release: Traxsource promo September 2. General September 23

Datakestra aka Naoyuki Takeda https://www.facebook.com/naoyuki.takeda.12

 

Lazare Hoche & Malin Génie
I Don’t Sync So Vol II
Lazare Hoche Records

lazParis-based producer Lazare Hoche and Dutch colleague Malie Génie deliver volume two of tantalising House Music. If you’ll forgive the album’s title pun then the duo have come up with a vibrant selection of styles within the genre with deeper moments like Oms blending neatly into the party-time breaks and bass of Session2. It all sounds very much in-vogue with the album combining deeper 90’s influences with a crisp, fresh approach that places it very much in 2013. Have a listen below…

release: September

https://www.facebook.com/ItsLazareHoche

https://www.facebook.com/pages/Malin-Genie/296454827033253

 

Naysayer and Gilsun
All That Good Work
Club Mod

nayModular Recordings new imprint proceeds with Naysayer and Gilsum’s follow up to last years In Mind. And is another trip through moody atmospherics that are hard not to be enthralled in. Deep, pulsating keys offset the awkward drums creating a sense of unease which the sampled words then make perfect sense off. The John Robers remix adds funky, wonky beats to a his version proving a shade lighter, while second track Blue sees more typically House bass play over uncomplicated rhythms and punctuating synths. The Eliphino Remix gives it more attitude with tougher instrumentation, but its the title track which leaves the indelible impression after all…

release: September 9

http://naysayerandgilsun.com

http://clubmod.tv

 

T-Connection
T-Connection
bbr records

tFormer in 1975 the Bahamas based band went on to score two huge dancefloor numbers beginning in 77 with Do What You Want To Do, a track which very much has stood the test of time (listen below). The second being At Midnight with its Latin infused percussion and soaring chorus which you will find here via its superlative 12” version. Saturday Night, is also worth your attention while rest of the album sways between good-time funk and disco with the emphasis most definitely on the funk. But for all you need to know about the band and this 1979 self titled album check Steven E. Flemming Jr’s significant sleeve notes.

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