Saytek Q&A

Welcome to Magazine Sixty, Joseph. You have been performing and producing music for a considerable amount of time now. I wanted to ask, given the sometimes fickle nature of dance music, what you feel has enabled that longevity as you have remained integral to dancefloors? Luck, hard work, being in the right place at the right time, people who have helped / supported you along the way, or all of those things?

I think two things. One is determination and never giving up and two is not conforming to trends or fashions and creating my own sound. Its meant I have never been the latest trendy act but a lot of acts that I see jump on the latest bandwagon normally last 18 months to two years and they are gone. Obviously hard work, support and a bit of luck have also played there part as well!

How would you describe the act of live performance? Has it to do with spontaneity? What do you think it achieves between you and the audience that is unique rather than by playing other people’s recorded music?

For me the definition is simple, its got to be music I have created and its got to be arranged live with no pre-recorded tracks. There is also room for improvisation as well. I think because the arrangement is live and it’s just me I cannot conform to music conventions such as 4 bar loops or only dropping things in on the 16th bar. It gives me the element of surprise and the ability to respond to the crowd in real-time. I think in a lot of ways it sounds quite different from a DJ set and people like that.

Can you tell us about the setup of equipment you use when playing live. Is there one thing that you couldn’t live without?

Novation Peak, Roland MC707, Pioneer V10, Novation Impusle 25 Korg Kaos, Pad , Macbook Pro, Ableton, Focusrite audio interface REM MIdi Clock, Pioneer RMX1000

How long did it take you to amass all of the hardware you use? Do you have a particularly fond memory of acquiring any one item in that process?

Some bits I have been using for years and my set up evolves over time. About 2 years ago I swapped from Elektron Analog Rytm and Analog Four to the Roland MC707 and Novation Peak. I am not someone who buys a lot of gear and I keep my set up for a long time. Once I find something I like I learn to use it like the back of my hand and its only when I feel my creativity with that bit of gear is beginning to wane I think about replacing it!

Yeah I wanted to avoid techno in this playlist and the only thing that connects these tracks is that they all give me goose bumps when I listen to them. Its music I have discovered over the years. A good techno record or DJ mix has the same effect on me. I am sure all this music goes into my brain and has an effect on my creative output how though I couldn’t tell you as it’s all such a visceral, in the zone, experience for me!

Can you tell us about how the video for IYNDUB01 (Live) came about. It’s a lovely piece of work?

Well firstly I was hugely surprised when Renaat from R&S contacted me about the live track, after he heard it on a live stream in lockdown, and then he told me it was going onto INTD 4.0 which is to celebrate 40 years of R&S. Then he told me it was going to be released as a single with a video I was over the moon. Its a really cool 3D animation made by Pierre Plouzeau. I think it goes with the track perfectly and I love it!

buy Saytek – IYNDUB01 (Live)

Your music utilises history as much as it does contemporary sounds. How do you feel about electronic music’s current creativity more generally speaking? In what ways do you think dance music has changed culture since the late 1980’s?

Yeah the sounds of Chicago and Detroit massively influence me still and the UK/European electronic music of the 90s! There is a lot about electronic music I don’t like particularly the commercial fads that come and go that bastardise good underground genres. But there is also a lot of positivity in terms of inclusivity and awareness and willingness to fix problems in the scene. I think a good underground party is amazing now as it was in the late 80’s for the young people attending. I have played a lot in Berlin and the lesser known clubs with no photo policies that are open for 72 hours non-stop still epitomise hedonistic underground culture. Kids at festivals are also having a lot of fun and probably closer to 90’s raves than acid house culture.

Is social media a good or not so good thing for creatives? Likewise is how people now consume/ access music on line positive or negative?

It’s both! Personally as a live act its helped my career no end! I can show people what I do live. For me its allowed me to connect with fans and make new ones. But it’s also very toxic, I hate the men of my generation constantly putting down women who DJ online. There is a lot of infighting and bickering and I would be lying if I said I hadn’t been drawn into that. It’s also super competitive and false you never see a DJ showing a video of that empty show they did for example!

Is the music the answer?

100% its given me so much joy and helped me through hard times! I am honoured I can give that back! When I see a dance floor going crazy to my music or have a fan saying my music gave them goosebumps it makes all the hard work worth it!


Various Artists – Freq Traxx Vol. 2 – Superfreq

Of course this is good. But then Superfreq never fails to present itself in anything less than the most positive light, which in this case, casts a gaze across the four excellent tracks making up Vol.2. Opening with Tenampa’s Gabriel I and Italian producer Rawbach who have co-produced the devilish, exhilarating raptures of Taured the excitement and energy levels are set to stun. Delicate Droids follow with the wonky bass driven Not Fit To Make Tea, while Radio Rental’s robust Deep Lana follows on with more probing, refreshing music. The teasing Acidic tones of Zap Club by A-Eno-Acid then round of the selection with its reference to the Brighton venue. Each track a standout in their own right.

Release: October 12


Mr. C – Show Me – Superfreq

Celebrating the labels fiftieth release of music in the only way that Mr. C ever could. In other words, this is fucking excellent. Before I get to the original we have Ruede Hagelstein’s Synthesizer Love Mix which does just that as a shimmering array of that very electronic instrument weaves its way across a pulsating universe of teasing, tempting sounds. Then next his Rave Tool hits hard and square with one of those kick drums who don’t want to mess with, while the synthetic voices gather pace with fiery syncopation proving to be just as wonderful. The equally great Radio Rental Remix follows fusing deeper bass with downright sleazy vibes that sense danger all the way down. Which brings us not so neatly to the Original’s wonky, tripped out low-end delivery, plus a fistful of crisp machine drums, and tempting voices to point you in the way of dizzying distraction. An outstanding release. Of course.

Release: September 14


Delicate Droids – Walk of Shame – Superfreq

Ouch. When the bassline is played on the delightfully titled Where Are My Panties you just know you’re in for trouble. Following up from their debut release all the way back in 2015 Delicate Droids have no shortage when it comes to brilliant titles for tracks. But more on that later. The missing item(s) cleverly has an array of distraught synthesized electronics all jamming together over insistent drums, leaving your mind in a pleasurable disarray of sound. Then, The Room Is Spinning creates an aptly unsettling sequence of events that result in something you will need to hear all for yourself. The self-explanatory I Peed In Your Boot leaves its own indelible impression via twisted Detroit bass and accompanying undulating synth lines which are uncompromisingly sizzling, fusing a strange sense of melody together over nine plus minutes. Excellence.

Release: May 11



Jay Tripwire & Modern Ancient – Heart432 – Superfreq

Superfreq reassert their importance (again) with this super-hot new production care off Jay Tripwire & Modern Ancient. The original version tugs at the heartstrings as the breathy rush of synths and voice-like impressions are cast together over probing drums and repeating tones, cumulating in a classically tuned arrangement that doesn’t waste a moment. A further three alternative interpretations prove to be equally alluring. The Spiritual Heartbreak Mix alters the emphasis on the drums, leaving both the Meditation and Spirit Tool versions break it all down to reveal the essential elements. The former letting the ambient pulse of the keys expand, the later sees the rugged sequences given free rein to soar against a background of live recordings. The excellent Dance Spirit are on hand to deliver a powerful remix which then accentuates atmospheric notes finely tuned into the stereo of possibilities.

Release: March 30



Jay Tripwire Q&A

Hello and welcome to Magazine Sixty Jay. Can we start with your new single (with Modern Ancient): Heart432. Can you talk us through the ten minutes of the Original Mix and where the inspiration came from for the track, and what its title signifies?

I started tuning my music to 423 a few years ago, there is a lot of debate about 432 tuning, there are plenty of conspiracy theories about it, but 1st hand I can tell you that music at 432 gets really amazing responses on the dancefloor. The idea in this track is to target the Heart Chakra, its key is F or F#. The main meanings or functions associated with the heart chakra are:
Love for oneself and others
Relating, relationships
Compassion, empathy
Forgiveness, acceptance
Transformation, change
Ability to grieve and reach peace
Compassionate discernment
Center of awareness, integration of insights
When the heart chakra is open, you may feel being deeply connected, the harmonious exchange of energy with all that is around you, and the appreciation of beauty. However, when there’s a blockage in the heart chakra, you may experience difficulties in your relating with others, such as excessive jealousy, co-dependency, or being closed down, withdrawn, I have felt myself dealing with all these issues being a lifelong artist and DJ, it is cathartic to make things like this.
The idea behind this is for dancefloor healing of that chakra, more chakras will follow on upcoming projects, Modern Ancient came up with this idea, and after research into it we decided to test it out in the studio and it became this project.

Tell us about your relationship with the label Superfreq. And about the choice of Dance Spirit for remixing?

Mr. C and I have been homeys for a very long time, he had me out to London to play at The End and AKA back in the day even before I started playing fabric, he has always been a supporter of my music and my Dj’ing. He started to include me more in the label parties and on the label in the last 5 years and we have a good relationship. I often pick his brain for ideas and inspirations, it was people like him and Eddie Richards and Tyler Stadius that really were there since I started putting out records and supported my work.
Dance Spirit are close friends of mine, I think of them as my little brothers. It has been so awesome to see them grow and develop into what they are today, their hard work and talent has been well received by the world. We often collab on things and they really loved the original so it only made sense for them to do a remix.

The release comes with three original versions. The Meditation Mix and Spirit Tool expand sounds without beats, does that feel freer from restriction?

I don’t care about restriction, or making things people might not get, that has been the basis of my career, it only seemed logical to do these other versions for separate times and places away from the original dancefloor mix. Mr. C does these meditation and visualisation workshops, so having the version for meditations that is meant for opening the Heart Chakra makes it an even more versatile tool.

Which people have had the most influence on you both from within and from outside of electronic music, any particular authors and artists?

My favorite author is Haruki Murakami, I feel he writes the kind of books that David Lynch or Jim Jarmoush should turn into films. One of my favorite artists right now is actually Chris Mohn from Dance Spirit, his works are amazing and now that he is doing all the art for Superfreq its going to look so next level. My early musical influences in the realm of electronic are Kraftwerk, Basic Channel, Dj’s like Mr. C and Doc Martin, Jeno from SF, Tyler Stadius, Evil Eddie Richards, and Dj Three have all been tastemakers from back in the day whos taste and programming sets really showed me how to do things without compromise.
I love a lot of Dub, I listen to Johnny Cash, All Them Witches, Wu Tang Clan, and Lotsa Heavy Metal as well, there are only 2 types of music-good or bad, fuck genres.

What importance do you place on vocals and songs in Dance Music? Can something be equally expressed as effectively though rhythms and sound, or vice-versa?

It depends on the vocal, I don’t like vocals for the point of trying to make a hit, I like words to mean something, to have depth and complexity, not just some fucking hook over and over.
I feel it’s more of a challenge to create emotional content that evokes a feeling from only an instrumental song, but on the flip it has a more universal appeal as language no longer becomes a barrier- everyone speaks music.
I play in a lot of places where people do not speak English and playing songs in English I find borders on arrogance, it’s bad enough I don’t speak the language when I go somewhere to do a gig.

What is your favourite instrument (or piece of software)? Do you own one?

I love my Moog Little Phatty, I wrote a whole song dedicated to it called Brothers of Moogtown on Superfreq. I love old novation gear- I have the K-Station and the Nova, both were actually gifted to me by friends who felt I would make better use from them, I have some fucking awesome friends!
I am currently babysitting the Elektron Rytm and the Analog 4 for my friend, I have wrote a bunch of stuff off them, they are fucking awesome units. The crux of being a true artist who doesn’t have a brain for business is that I made decisions based off the bubble I live in and based on the true integrity of my art. That doesn’t make me a top 20 DJ and therefore I struggle with buying new gear and vinyl. I’m looking at selling plasma to buy the Elektron units lol.
I write everything on Logic 8 actually, one day I will upgrade or someshit, but I wrote shit on an Atari Falcon into the 2000’s till it caught fire, so I’m always doing shit my own way and utilizing the things I have and making it all work, that’s how all the best Detroit records were made.

You recently called Tech-House, Bro-Tech. Can you expand your thinking about that? And does it make great music more special and hard to find, or average formulaic music more the norm?

Tech-Bro!! When we started making these records that later became known as “Tech House” it was based of the style of Dj’ing, we played stripped down house records and more Detroit sounding techno in a set in such a manner that it was best of both worlds. I took that idea and started making my own records fusing both sounds. I never expected one day Tech-House would sound like it does now, it’s fairly cheesy with those big EDM-esq drops. The parties I have checked out are mostly dudes in Vnecks attending and it’s pretty contrived sounding to me, but I’m also decades into this and I like subtleties and nuances in music.
Don’t get me wrong- I do like repetitive stuff but it has to have these small details and I don’t hear it in Bro-tech, it’s just EDM laced Velveeta for people that think they are into “the Underground” whatever the fuck that is hahaha.

And finally. What plans do you have for 2018 and beyond?

I broke my head and neck last year so I was busted up, in a neckbrace and no touring for a while.
My 1st dates back were in November In Oslo, then some dates Romania in December and Hawaii in January, I think people were waiting to see if I had recovered before they started booking me again, but I’m 110% now.
Things are picking back up, on the other side since I have been around Vancouver more I have been in the studio like a beast, got lotsa remixes, releases on vinyl and digital coming up. I joined forces with my friends here who do these parties called UnderG, so I’m working on throwing parties with these guys, and we are starting a vinyl label out of it. The 1st release are some tracks I did with a remix from Nu Zau.
The UnderG thing is all about stripped down underground music, and Im all about that haha.
We have Herodot April 6th at a dope warehouse venue called Open Studios.
I still play at Gorgomish in Vancouver, it’s our version of something like Panorama Bar or fabric room 3-I have been playing there for over a decade since it opened and it’s still rockin.
The injury in itself sucked ass but it did have a silver lining and all the love and support people gave me when I was all fucked up thru the bandcamp album I did kept us from going homeless and really showed me that there are awesome humans out there I felt really loved and was super grateful that people gave a shit. I started revisiting being more part of the scene here in Vancouver again instead of being completely absent and away all the time, when Vancouver parties are on they are FIRE and as good as any legendary city.



Jose Padilla
International Feel

A gentleman who needs little introduction is the infamous Jose Padilla and if you’ve either witnessed one of his sunset sets, or indeed lisented to one of his numerous CD compilations then you can guess what you’re about to receive. Which is, of course, tranquil blissed-out music espousing atmosphere rather dancefloor clique. The title track undulates in a deeply satisfying way as gentle layers of voice, flute and percussion underpin it all close to your heart, with Mark Barrott’s production shinning. The Bubble Clubs In Loving Memory Mix provides a more hypnotic experience with haunting pads and delays comfortably pacing themselves, while the excellent Wolf Müller Water versions add a funkier sensibility to the equation, and one which works supremely well.

release: July 7

Inxec & Julia Govor
Ai Need You

Delivering yet another devilishly charged release Superfreq maintain the tension with this latest from Inxec & Julia Govor. The Original version is all sassy, funky electronics set against a dazzling array of twisted effects and gorgeous, breathy voices all of which simply stuns. Great remixes come from Derek Marin whose dark, trippy rendition contains a classic House B-line and all sorted accompanying percussion. Plus, Meandisco who supply even weirder synths and pulverising beats. Leaving, Noel Jackson’s more sensuous remix to complete with warmer meanderings.

release: July 7

David K
Middle Aged Romance EP

Two tracks go to make up this tasty EP from David K who you will be know with via his releases on the likes of Freak n’Chic and Coccon etc. The charmingly titled, Middle Aged Romance kicks things off with a selection of deeper, sensuous tones alongside fiery drum machines all vying for your attention amidst occasional strident House chords feeling compelling. However, its second track and the very excellent, Drop The Beat that relentlessly grabs your attention with killer Chicago styled beats booming, coupled with commanding vocals and insistent percussion lines – Party Monster!

release: August 20



Teotima Ensemble
Counting The Ways
First Word Records

We all like a touch of Jazz. Although it’s a shame that I don’t get to hear as much contemporary stuff this more than makes up for the shortfall. All the tracks are quite long – which is good – and conjure up the sort of atmosphere that is both thoughtful and thought-provoking. Packed full of strings, lush vocals and accompanied by a warm, inviting production score this all makes for happy/ melancholy listening of a higher order. Check the video below and see just what I mean….


Franco Vizzo feat. Brenda Alonso
Unless Your Memory
Get Slow

GSR005 BAnother distinctive, and dare I say fucking great, record this week is care off Argentinean imprint Get Slow. Love the brooding jazzy piano which hangs in the air until the deadpan vocal hits you. It’s all inescapably funky, yet a little downbeat which is precisely its charm. Also try the Fer Marino Remix which again plays with the same atmospheres albeit with a deeper edge and Acid tweaks, while warm pads rush over you. Nice.

release: December 18


David Scuba
Turbo Slutt EP

SFD012_1500X1500Spent many years trying to avoid being slightly inclined towards Techno but then this happens once again via Superfreq. I don’t really care for labels much as they tend to get in the way of the music. However, David Scuba’s outstanding production generates such a striking response that it’s hard not to fall under its spell. The title track is as sleazy as it implies with reverberated sounds bouncing off the walls amid a fierce combination of drums and bass. Joint Custody re-imagines the elements on their version, while Jonni Darko ups the tempo on his. The warped funk of Schnizz forms the final track with an undulating rhythm that is just irresistible.

release: December 18