There’s something instantly likable about this. Which is probably down to the effortlessly breezy nature of the combination of smooth keys and breathy vocals intoning the title. On the other hand the beats and bass provide a powerful undercurrent, suitably funky while not particularly radical, it all serves a higher purpose in the end.
Originally appearing at the beginning of the previous decade on Aspect Music this brand new Thomas Stieler Sunshine Edit breathes fresh life into its existing, essential charms. The vocals still dance around the rhythms in tantalising ways but there is now a greater sense of urgency injected into the tougher roll of drums, plus suitably rugged smear of bass, which lifts this version into more breathless realms of bliss. The Sunshine of the title is also entirely appropriate here as soulfully charged chords combine alongside a warm wash of ambience pointing towards the hot abandon of summer months ahead.
Welcome to Magazine Sixty, Garrie. Let’s start with the sound of the music you currently create, can you tell us about the bands or artists which drew you in that direction growing up?
Hello and thank you for the interview. So, when I started listening to Minimal Techno the artists that drew me in this direction were Super flu, Audion and Richie Hawtin and other artists along those lines. It was that blippy / glitchy rolling bass, minimal Techno kind of groove that i fell into and has stuck with me for all these years. They have definitely helped shape the sound that I create today.
You launched your own label Gaddison Music at the beginning of this year. What made you decide to start a label and how have you found the process, has it been what you thought it might be?
I had been releasing music on various record labels for some time which I enjoyed as my music was being heard across other parts of the world and it was great that someone liked my music enough to want to release it. Looking forward I thought the next best move would be to start my own label and so far it definitely feels like the best move. I am now in control of release dates, promo and most importantly, the music itself.
The labels third release: 848 if also from you. What’s the significance of the numbers?
These numbers are simply my date of birth which is ’84 and I had grown up in a house which the door number was 48, basically I combined the numbers that meant a lot to me. Also 8:48 is that time I tend to catch when looking at a clock, Its like a good luck combination of numbers that seems to make me happy.
Can you talk us through how you produced one of the tracks, including any favourite software /hardware you like to use? Do you tend to start with a single idea/ note or does inspiration come from something you have watched or heard from outside the studio?
These tracks especially, started with Native Instruments hardware/software controller “Maschine” where I created the initial ideas by tapping the pads to form a pattern in the direction of the style I wanted to make. As soon as I had the feel of the track I dragged each part individually into logic creating audio files. I think the most important thing is to get an idea written down and move on with the track as quickly as possible to capture the sound and the mood that you are in. Most of my inspiration is from little ideas that pop up in my head either from watching TV, my children or when I am out working.
Do you think that House/ Techno constantly reinvents itself? Or do those terms refer more aptly to music from the past, could contemporary sounds now be called something new? Are musical labels important in the first place?
Yes, I think House and Techno constantly reinvents itself. It is always evolving and moving with the times. Although elements of the original genre are getting left out in the “new age” House and Techno music that we hear today I think it is important that we remember the roots of where it came from. House and techno does cover a wide range these days therefore I think sub genres are important.
Outside of electronic music what inspires you in term of artists, writers, painters etc? Or does inspiration always come from hearing other pieces of music?
I would say that most of my inspiration is from other musical artists from listening to radio stations and mixes. On a weekly basis I listen to Nicole Moudaber with “in the mood radio” where she plays music from all over the world and is on a level I can relate to when out at festivals and nights out. Another place I get inspiration from is either Ibiza Global Radio or Ibiza Sonica Radio, both really cool stations I listen to on the app whilst going from job to job, always good music I can also relate to.
What are your feelings on the future of music in terms of artist revenue? And how do you see club culture changing (or not) post Covid-19?
This is a hard one as the music scene has been hit really hard and the outcome of all this is still unknown. I am optimistic though and I do see it getting back to somewhere near normal when everything opens up.
And finally. What are your plans for the remainder of 2021?
I am continuing to release my own material on Gaddison Music and there are some remixes in the pipeline for this year. I am just going to keep it rolling and see where it goes.
Gåddisøn – 848 – Gaddison Music is released 30-04-2021
DJs for Climate Action announce EARTH NIGHT 2021. It’s a full day livestream on Sunday April 25th featuring artists broadcasting from around the world, plus some thought provoking panel discussions. The event will also celebrate ‘Climate Soundtrack: Future Visions’, a unique compilation of music from producers worldwide, inspired from sounds recorded by Greenpeace.
Launched in 2018, EARTH NIGHT is an annual celebration to harness the energy of the global dance scene to power solutions and generate climate action. Check it out on Youtube. With the pandemic still keep most live shows and clubs closed, DJs4CA are again in 2021, presenting this event online. This year the collective are introducing panel discussions, connecting stories of arts, culture and climate. Participants include members of organizations like Music Declares Emergency, Fridays For Future and Greenpeace, and artists like Fakear, Ninda Felina and Simon Meija of Bomba Estereo.
Music will still be at the center of EARTH NIGHT, with a massive back to back DJ set linking artists far and wide. Each participant will play a single track, and then pass the aux cord across the planet to the next selector. This year’s B2B will highlight many of the artists featured on DJs4CA’s upcoming music compilation ‘Climate Soundtrack: Future Visions’is currently crowdfunding to press a record using a new process friendlier to the planet.
EARTH NIGHT 2021 will stream live on Sunday April 25th from 8am – 6pm EST / 2pm – 12am CET on the Greenpeace International YouTube channel, and on Earthnight.org and on twitch.
‘Climate Soundtrack: Future Visions’ compilation crowdfunding will launch April 19th on Kickstarter and will be released across all platforms on May 21st.
In late 2020 DJs4CA engaged their community to create original music using a free sonic toolkit of sounds recorded across the globe. Over 300 tracks of all styles came in including contributions by Acid Pauli, Fakear, Mark Farina and so many up and coming producers. Nicola Cruz, BLOND:ISH, Cosmo Baker and Matt Black of Coldcut are the judges helping choose which tracks will be pressed onto a truly unique, green double record. The record will be pressed by the Dutch company GreenVinyl Records, who are pioneering a new injection molding production process which reduces CO2 emissions by 95%. The technique is also free from toxic PVC.
The revealing voice tells you: I think more people have discovered that it’s not for them. Which I guess is open to interpretation but what isn’t is the sheer, uber funkiness in operation as the rhythms unfold across 848. Supported robustly by pounding beats the amalgamation of probing, punctuating synth lines plus atmospheric effects all point to the sublimely realised hi-hats making their presence felt at around 3.30. The possibly even more intense, I Know You follows blending a hit of Acid together with further drum-machine fuelled percussion, leaving the faster Sun Down to end via its breathless pace of chopping keys and soaring, searching inevitability.
Release: April 30
There is a haunting eloquence contained in Joram Feitsma’s playing, let free to fly, connecting you to the artist in profound ways taking your thought processes and emotions on a journey to somewhere else. The pianist gently reworks ideas of melody and association to meaning on the beautifully lilting Lente for example, while the unfolding landscapes of Hoede Pt. II reach their destination via a looped drone of tones, other notes are charged with more brutal intensity such as on Kept. It was co-produced by label founder and one half of Âme, Frank Wiedemann with the productions highlighting the happy/ sad aspects of life which chime notably in current times. It also feels very much like a series questions asked, perhaps resolved by the progression of keys found within When Lost. In the end Flux plays like heartstrings of sound pulling you in different directions, yet feeling composed and open to creative interpretation.
Achieving peace is by no means an easily attainable goal. I guess we can all agree. Michiru Aoyama’s disarming collection of sounds wash over you inviting your senses into differing directions from when you first pressed play. Musically rich, emotionally beautiful seeking a heightened awareness of the space surrounding you it is as meditative as it is challenging, provoking and evoking memory while accepting the moments drifting into view. Completing via the blissful expanse of WET this album simply is. Above and beyond, time and place.
Beginning with Marcus Schmickler’s unearthly Particle/Matter is sure-fire way of grabbing attention, sonic or otherwise. Tobias Thomas’s mix then proceeds to contact and connect all in its path as sounds from the future, occasional the past, are transporting into an emotionally changed journey into sight, tone and timbre. Have to say that the feeling compacted into the opening numbers is sheer and forceful touching the human senses in mind expanding ways, as the playlist unfolds so does the introduction of melody alongside drums plus a wealth of imagination. The list (selected from the labels back catalogue) takes in everyone from DJ Koze to DJ Tennis at over almost two hours’ worth of time, although it’s the overall mood created across its entirety which pays testament the innate strength and ability of both the DJ and accompanying music.
The collision of light and shade on Mind Is In A Daze which opens the EP is all at once soulful yet brutal. Exploding in a tantalising array of colours this fierce combination of tough, rolling rhythms alongside heavenly keys welcomes the inclusion of breathy voices like it all means something. The intense percussion informing The Kiss feels equally fiery, while the treated drums of Let Me See You Jack takes you back to an imagined 1980’s somewhere lost in the wealth of the underground. Optical Illusions completes with deeper tones exploring fresh conclusions to musical existence, contrasting the need for dancefloor crunch plus a satisfying emotional resonance.
Release: April 23 (Vinyl) / April 30 (Digital).
Put simply this is an extraordinary remix by Andhim, but then again what else might you expect. Taking the breathy melancholy of the originals striking vocals the duo transform its setting by twisting synthesized lines around a furiously funky, tough yet incredibly groovy rhythm section reigniting the voice. Words such as breathless, soulfully resonate and contemporary combine here much like the superlative sounds do.