Two of the finest producers in Dance Music once again deliver their skillset with flawless ease. Kicking off with the pounding, thrilling array of tribal drums delivered by the excellent Touchdown, which also contains one of those standout synth moments, the production both cleverly employs a Dub sensibility alongside a feverish dancefloor arrangement resulting in the sort of dark, intensely satisfying, lose yourself grooves that seem to chime with the times we live in most tellingly. Got You, follows with the introduction of commanding voices plus evolving layers of keyboards that build the tension into an inevitable release of energy. The drums are everything required being funky yet hard-hitting and of course most essentially irresistibly rhythmic, following the footsteps of the previous number with more first-rate drum programming coupled with the duo’s intimate knowledge of the process.
Your latest release for Hot Creations is excellent â€˜Pinball’. Where did the idea come from for the track and can you talk us through how you produced it?
In the first step we were looking hard for an interesting bassline to make up the track, much like how we began our successful tracks ‘Take Some Time’, ‘Get This!’ or ‘Spunk’ for example. We did find a couple of interesting sounds that when we mixed together and played around with really excited us. Then we followed the unusual sequence of claps and percussion and by that point building the track up became quite simple as we felt we had secured most of the winning elements.
You also have music coming out on Gruuv, Noir, VIVa MUSiC and more. How would you describe your relationship between DJ’ing and Producing â€“ could one work without the other?
Yes, there are a lot of good DJs around that don’t produce very much but these days’ producing has become a full part of a DJ’s job. We’ve been doing this with a lot of passion for so many years and the difference is that in comparison to the early days you produced a track to promote it in the club and not necessarily with your own name on it because what counted was to be a good DJâ€¦ today you have to make tracks to promote yourself, so in that sense the scene has completely changed. But that’s ok – if we are known around the world because of our productions then let’s go! 🙂
Italy has a long and important history with Dance music. What were your earliest encounters with the music, and who were you first inspirations?
We get into Disco Music and Funk since we were very young. We always loved that kind of sound and at the time Giorgio Moroder was our hero and everything he produced together with Pete Bellotte as Donna Summer, Munich Machine and all the albums under his own name. Other great artists of that period were Gregg Diamond, Kraftwerk, Dennis Coffey, Chic and Vincent Montana Jr – just to name a few!
You DJ all over the world, do you find that people like different sounds in different countries?
Honestly no! We always bring our own sound and generally it goes very well. In recent years promoters calls us because they know our tracks, of course, so they expect to hear that kind of sound during the night and the audience seems to appreciate it 🙂
How do you feel about the importance of song writing now as compared with the past, and its relevance in today’s music?
If you have a good songwriter and singer it’s always worth taking risks. It also depends on the target you want to achieve. The main thing is to always have a great idea and a great song and if you do not have that it is better create a good track instead. This is a rule that was true yesterday and still is today.
For sure it would take more effort, energy and investment to produce a song instead of a club track with some spare sample voices here and there, but obviously if is a good one it will have a much longer life and better chance to have success .We use to do that in the early 2000s when I produced as Bini & Martini together with Gianni Bini. We are very open minded, so maybe in the future we will do some features as well if we find the right partners.
Can you tell us about your studio and a typical working day there?
We have a really basic studio and work with Logic and both analog and digital instruments. We listen to lots of music and everything inspires us, including old tracks, samples, or whatever brings us some energy and strong emotions. We don’t have any rules, though we often start from a strong bassline, a simple percussions or listening to a DJ set from some of our heroes that inspires us.
What plans do you have for 2016?
We produced a lot of stuff throughout the last six months that will get released between now until March next year. At the end of this year we have releases on Hot Creations and Gruuv as well as remixes on VIVA, Time Has Changed and Noexcuse. Then from January onwards we will have releases on Suara, Material, UNI and a remix on King Street of the anthem Johnny Dangerous â€˜Beat That Bitch’ – a track that we really love, so we were really excited to get our hands on it when we were asked to do it. We are also working on a collaboration with Anek that will probably be release on early 2016.
As DJ’s, besides Italy where we do most of our gigs, we have already scheduled Berlin, London and Ginevra for the beginning of the next year so we’re looking forward to it!
Paul C & Paolo Martini ‘Pinball’ released on Hot Creations 27/11/15