Let’s cut straight to the chase and Radio Slave’s sprawling epic Dub version which sends out reverberations that tease and tangle. Lou Hayter’s vocal makes its statement in the intro but from then on in only brushes sentiment across the deep, throbbing pulse of funky instrumentation running quite rightly to some ten minutes of excellence. If you would like to hear the full voice accompanying the grooves then try the Radio Slave Remix.
Welcome to Magazine Sixty, John. Your new single Your Love (Skint Records) captures a sense of anticipation yet also hints at melancholy. What for you are the most important attributes in music? What makes a great piece of music?
Thanks and happy to speak with you, I’ve just been away so glad to be back in the studio. Yes as you say I always love a bit of melancholy in the music even if it’s a dance or pop song. For me music is all about a feeling and it’s really hard to think about music as â€music businessâ€. It’s probably been bad for me as I probably could twist out lot of money from it, but for me, music is more than that. I’m not saying I don’t do any commercial crossover music, I have but it needs to vibrate with me or I won’t do it but around after 26+ years or so, I guess I’ve been doing something right after all.
Hard question as I would say again, for me it’s all about that soul and feeling, so if you don’t feel it you don’t feel it, nothing wrong with you or the music it’s just that you don’t connect for some reason.
Can you talk us through how you produced the track? What pieces of software/ hardware did you use in its creation?
I have always been into analog gear and have over the years built up a nice studio I’m happy with. I usually never talk about my studio as I think it loses that magic feeling of how things are done, but the studio is based upon Pro Tool HD. I wish I had been working with it since the year 2000, shifting from an Atari with Creator/Notator program and an Alesis MMT8 Sequencer. Around that I have lots of synths for different purposes, like the Memorymoog, Moog One, Roland Jupiter 8, PPG Wave + Waveterm B, MiniMoog and many more .. I use them all and they have a different colour of sound. The main studio speakers are the ATC SCM45A PRO, I just love them. Far from that a few outboards and some rare gadgets, like the Quatec QRS reverb unit, crazy enough pre owned by Kate Bush and used on her â€Hounds Of Loveâ€ album, which for me is still as mind-blowing as when I was a kid, nonstop watching the â€Cloudbustingâ€ music video on MTV with tears in my eyes. So it feels strange that I got hold of that unit they used. But nothing in the studio is for gimmick or for collection, if i don’t use it I sell it.
Buy: Zoo Brazil – Your Love https://Skint.lnk.to/YourLove
What in general is the starting point for making a piece of music â€“ a drum or a random sound? Do you think it is more important to concentrate on simplicity or more complex use of instrumentation?
It could be a random sound I tweak out of the synths or just a melody on the piano or a drum beat I start to build around, I never have a template or preset sounds. I think that is so boring, so I always try to start from a blank paper, music making should be fun, and going to the studio and not having that free open feeling is not fun for me.
What is your favourite instrument? Do you own one?
I think I’ve more or less owned all the synths I thought were my dream synths, like the Yamaha CS80. I actually sold it as it was not for me and I believed it was my dream synth before but never really did anything on it, and have never been a huge Vangelis fan anyway so it was just not for me. I would say the Minimood Model D, PPG Wave and any of the Roland Jupiter’s like 4, 6, 8 or MKS80 are my favourite synths. They always standÂ on their own and don’t go with any fashion, I can do anything with them really.
What advice would you give to new producers on looking after their hearing?
Get some good studio monitors, follow your own feelings and don’t jump on trends. Now days there are plenty of labels out there that will dig your stuff for sure, don’t give up. Don’t stop on one track from 2 years, make new songs all the time, you will learn from each new song you make. Don’t let A&R people make you feel sad, from experience they are not always right, so do your thing.
How do you see the Dance Music industry at the moment? Is it in a healthy place in terms of artists revenue (Streaming etc) and how do you see it moving forward?
Streaming is a joke, it’s more or less the same amount of money as coal mine workers had in the early 1800 in payment. I love the technology but it has to change, music rights and value of work need to be granted. These companies profit on your work and believe it’s payback time just as it was for the coal miners back in the days, but first artists, writers and producers need to understand their own value and join forces. A magical thing would be a streaming service platform owned by the artist themselves, instead of greedy investment companies that invest in anything they can get money from.
What was the last piece of Club Music to really impress you, and which artists do you value from outside of the genre?
There is so much good club music out there, but nothing really new. It goes in circles and it’s not that I’m looking for something new, but club music is as it has always been really, to make people move and have a good time. Everything comes back in fashion after like 20 years, just to put a different name on it does not change it. But im glad a new generation is discovering it and there is so much good new music out there. I love music from 1977-1985, it was such an interesting period of new technology in the music studios and people had never heard of digital delays, affordable synths and spaced out effect units. Right now I’m listening to anything from cheesy pop stuff from early 80Ãsh to Speed metal, it comes back to the previous question, it’s all about that feeling in the music.
And finally. Where can people get to hear you DJ over the coming months?
Right now nowhere really, I’ve been changing booking agent and in the process of that. But requests have been floating in from Asia, Australia and the EU in the last few weeks so looking forward to a busy summer ahead DJ’ing.
Returning after a summer break Magazine Sixty reappears refreshed to bring you the hottest, slightly wired, music to devour all at your own leisureâ€¦
Single of the Week
Again taking its cue from the past and reigniting your love for those timely House sounds around the turn of the nineties, Thunda never the less keeps the spotlight firmly focused on the future too.Â Fuelled by a hypnotic combination of deep beats and bass this charmingly also features improvised Flute and an array of commanding keys and chords that all weave their certain magic across John Mendlesohn’s rather tasty vocal delivery. Two great remixes compliment the original firstly from HNNY who drop the tempo for a different feel, and from Terrence Parker who conversely injects a rise in energy via Detroit stabs inevitably intensifying it all.
Release: October 12
Patrick Kunkel & 212fahrenheit
Never Down EP
Blend It Records
Fancy that. The first record in my mailbox today and it’s a gem. The third release from the label sees Patrick Kunkel & 212fahrenheit deliver succinct yet exciting sounds that all at once feel funky, emotive and come with a pronounced sting in the tail. Slashes of snare punctuate the rhythm while haunting voices colour the arrangement alongside cool basslines and cutting synth lines on the captivating title track remixed superbly by Danny Serrano. The Original version itself features the expanded vocal amidst meandering sounds that again command your focus. Next, Frivolo has rougher bass and a sense of fresh musical flair that makes this also well worth your attention. An excellent remix appears from M.in whose pulverising low end makes for impressive noise with the electronics getting progressively fizzier.
Man With No Shadow
Three kicking tracks go to make up this latest from the mysterious Man With No Shadow. It’s good you get the nod to the past’s influence without trying to simply replay it by adding your own expression into the equation. And that’s just what the opening Urge does and does so in some style. Pounding beats, soaring vocal delays shooting around the stereo and shimmering tension building arpeggio’s do all the rest on this commanding, fiery arrangement of contemporary House Music. The likewise Money Talks follows on with the tough rhythms aided this time by signature stabs accompanied by taught held-string lines that cumulate into a chime led frenzy. The first rate tribal infused Tom Ross ends with a scorching flurry of heavy Toms and darker pulses that again capture their essence perfectly.
Kalyde ft. Youth
Daring to be different and featuring the cutting melodies of Youth proclaiming the record’s title loud and proud the original mix of Good Life deceptively greets you with gritty kick drums and a dark wash of atmospheric synthesizer. And then dances intriguingly in-between Soulful and Techno with a deliberate ease that retains a sense of musicality coupled with a blaze of sheer dancefloor attitude on this stunning production. South London Ordnance Remix then dispense with any melodic niceties to deliver a more driving take, leaving final track Last Seven to twist touches of vocal over further unrelenting electronics.
Release: October 23
If the title: The House Of… transports you back to New York in the early nineties then the music plays every bit for 2012. I like/ love this album in the same way I do the new Azari & III and for the very same reasons too – you can spot the influences and reference points yet relish in just how contemporary and fabulous it all is – and it certainly doesn’t sound like a revival.Â From the big room beats of Opulence to Roland Clark featured on Million Miles Away the productions sizzle with ideas and moods with a series of collaborations that pull in the calibre of Timo Garcia to Tim Deluxe: who’s Lost the Feelin’ takes tension to an impressive extreme. Other highlights are undoubtedly the opening This Is War with Doll – not least of all because of the ecstasy inducing E2-E4 sequence – and the extra squelchy funk of Dark Matar. In ways this album could have been recorded at anytime over the past couple of decades but the fact that it feels this exciting says all that needs saying. 8
release: 23 Jan 2012
listen to album minimix Â http://soundcloud.com/skintrecords/the-house-of-x-press-2-album
More records like this one and someone will be suggesting the return of House Music’s golden era.Â The strongest release on Kaluki so far – could be, if that is you like moody European electronics crossed with Chicago via Detroit (ish). What’s more Italian producer has added a totally succinct vocal refrain giving the track all the soul required against the backdrop of sinister synths and euro-beat references. The first remix is from Luca Bear and Romano Alfieri who add yet more haunting qualities coupled with a fierce bassline, the final from Marco Effe is simply outstanding as it deepens the mood and draws you into a life all of its own. 9
release: 17 Jan 2012
Italy’s magical combination of Dj/ producers Giuseppe, Andrea and Vins deliver four equally dazzling cuts for Kerri Chandler’s Madhouse. Dogzmatic starts with a high octane sequence of hypnotic synth and pianoÂ rushing headlong into oblivion, or there abouts. The excellent Euphoria follows with one of those irresistiblly in-vogueÂ organ led basslines played off crunchy handclaps and intense atmospherics. New Era gets moodier with yet more organ and drum machines invoking the past on this cool number, leaving the stunning Powerplant Powered feeling heavenly with its hands-in-air marimba vibes shouting sunshineÂ all the way…
Release: 16 January 2012 onÂ Beatport. General from 30 Jan.
Initially released last October Chris Duckenfield’s effervescent combination of legend Etta James and an assortment of Disco beats and House attitude (see killer bassline) now gets the Jet Project treatment – not forgetting the heavy duty Chicago Damn version which accompanied the original of course. Their Believe In Dub version again hits the spot with carefully crafted bass notes and shuffling rhythms offset against delays’ galore and a smart arrangement of sounds set to stun. Head-nodding, soulful and to the point. 8
release: 16 Jan 2012
Inspiration:Â Manuel GÃ¶ttsching ‘E2-E4’ (1984)