Deepinradio Top-15 Tracks for 2012

Choosing the most beloved music of a whole year is not an easy task but with a little help from our fanatic listeners and lotta love for tha gruv the ultimate verdict comes out easily.

These are a few of the artists and tunes we supported, broadcasted and definetely enjoyed listening to in 2012 on Deepinradio. Most of this music is still being aired on our daily live rotation and a part of it will be featured again and again in the future.

Much respect to each and every artist and label for sharing the inspiration and all unique listeners for constantly supporting Deepinradio's vision of Deep.

Until next year.. Stay Tuned, Spread The Word, Listen Deep.

Deepinradio Favorite Label 2012

Deepinradio Favorite Artist 2012

Deepinradio Favorite Album 2012

Deepinradio Favorite Radio Show 2012

Deepinradio Favorite DJ Show 2012

Glenn Underground [Traxsource.com]

Known for his classic releases on Trax, Dance Mania, Cajual, Relief, Nite Life Collective, Guidance, Peacefrog, Large, Gotsoul, Shelter, Vega, and more, Glenn Underground aka CVO, drops 2 new albums on his Strictly Jaz Unit imprint this month, exclusively available on Traxsource.

Recently we had opportunity to have the Chicago house legend tell us a bit about his past, present and future.

Most people dont know that you worked for Trax Records before you were the Glenn Underground we know today. What did you do there and what knowledge did you pick up while in that enviroment?
Yea that place was a good learning curve (not always great but I learned greatly there). I'd crush all the vinyl in preparation for new music to be added to the the hockey puck like wax to be pressed into new music (no, its was not virgin vinyl lol). But from working there I got an early sense of the House Music business in what it should and shouldnt be like, but most of all I was there and witnessed what made it briefly historical.

Tell us a bit about your musical training/background, where you come from, and how it was growing up?
Well, I grew up in Chicago, the Mecca of House Music, where I played House & Disco 1st as a DJ(circa 1984), but House music wasn't was always my top influence though it was my foundation for wanting to become a producer. But my major influences are the Soul & R&B Soul but the ultimate influence is Fusion, Jazz Fusion, also Funk Fusion, because in any type of Fusion you can musically go anywhere from Soul to Disco and on to Jazz etc...As a musician: I play by ear. I cant read sheet music but am planning to take some theory classes and get a degree hopefully, but mainly what I am saying is that I am self taught and am heavily influenced by Mr. Fingers aka Larry Heard which in my book is one of the greatest to touch some ivorys

When and what was your first record released?
Wow can't really remember the title but it was a Trax Record about the end of 1989, & it was something new (though I've been tracking since 1986-87) the label was testing out but it got lost in the archives lol!.

You had the pleasure of having Patrick Adams & Leroy Burgess in your studio. What was that experience like and how did it advance you as an artist & producer?
Patrick and Leroy are the tip of the moutain top for me because they bestowed on me their greatness and their experience in the creation of music and when it was my turn to play keys Pat said "Glenn your turn" and I remember being so nervous and Leroy said "boy just let it go and do it" and all of a sudden I was not scared anymore, and yes it made me a more polished musician as far as how I should create, but mainly I think all the time of Pat telling me a story of how music should be like a conversation that turns into a debate(argument) then it should calm back down and the vamp very deep insight for me.

How is this album different than your previous albums?
These last couple of LP's just shows my maturity as an musician/artist, and it show's that all things don't have to be status quo musically today.

Tell us a bit about your studio set up?
I just downsized recently but it was a 56 track recording lab - 24 tracks digital and 32 analog.

Are you still using alot of analog gear?
Yes and no. I call it "digilog" now because I am still doing the analog/digital thing but I am mainly using a lot of my analog synths like the Moogs & Rhodes Piano ect..

Any up and coming musicians, producers, DJs you like?
Yes & they're not really "House Musicians" but mainly more fusion. They are Quincy Nicholson(son of Anthony Nicholson) also a musician who is very great by the name of William Kurk out of Chicago. You guys should search him out very great cat

As one of the hardest working prolific producers in the industry we can figure out all the songs in your catalog, but how much unreleased music would you say is archived, and will we ever get to hear them?
Thousands and hopefully the world will get to hear them all and I am very real about the world hearing them because an artist should always share his artwork with the people so they can enjoy it as well.

You had a chance to do a remix for the classic song 'Moscow Disco". How did that come about?
Don't really remember how it came about but it was a fun job and I learned a lot for their productions also

What piece of advice could you share for upcoming producers and DJs in regards to obtaining career longevity?
Be REAL all the time and be yourself

Check out Glenn Underground's album "Forgotten Art" at Traxsource.com!

‘Draw the Line’ is an emotive and accomplished record that sees Dowling & Johnson re-united with long-term collaborators, Tracey K and Mary Cigarettes, alongside local Cork vocalist, Tadhg Hickey. The album is a rich tapestry of instrumental and vocal tracks, featuring everything from Jazz inflected house to tech inspired floorfillers and laidback soul infused songs.Production duo Fish Go Deep return with their much-anticipated second album ‘Draw the Line’, offering up eleven tracks of quality electronic music that show why the pair have been so in demand for the last two decades. ‘Draw the Line’ is an emotive and accomplished record that sees Dowling & Johnson re-united with long-term collaborators, Tracey K and Mary Cigarettes, alongside local Cork vocalist, Tadhg Hickey. The album is a rich tapestry of instrumental and vocal tracks, featuring everything from Jazz inflected house to tech inspired floorfillers and laidback soul infused songs. Downtempo tracks such as ‘All Change’, ‘Blue Flame’ and ‘I Don’t Feel Guilty Anymore’ bring a real depth to the LP, showing the duo’s production abilities and opening up another side to Fish Go Deep. At the same time records like the wonderful opener ‘Being Supreme’ and the deep and dubby ‘Z Dub’ make it clear that the pair still have their feet rooted firmly on the dancefloor.

All in all ‘Draw the Line’ is an album that reflects the many influences that impress themselves upon these producers and it is a testament to their songwriting and studio skills, that with such diversity they manage to deliver an LP that gels as a whole so beautifully.

Traxsource caught up with Fish Go Deep to talk about the new album...

Where are you now and how do you feel?
Relaxing at home after a long weekend. We had a couple of launch parties for the album that went late. Great parties but we need our strength for a busy summer.

How did you the two of you get together?
Back in the mists of time, Greg used to run one of the only club nights in Cork that played some house. I used to go along to dance and when Greg heard that I had some house records he asked me to guest a few times. When he moved his night to a bigger club soon after we started playing together regularly.

Where did the name Fish Go Deep come from?
A few years after we started playing together we opened a record store in the fish market in Cork. Maybe not an ideal spot but the rent was cheap and, most importantly, you could get a good lunch nearby. Anyway, we called it Fish Records and even when we moved out of the market to a new premises the name followed us. When we later started producing music and needed a name for our first release, it seemed natural to continue the theme.

Tell us a bit about the new album ‘Draw the Line?
It's got a house vibe without being strictly house, if that makes sense? Tracey's on there, Mary Cigarettes is on board, we've a great new collaborator in Tadhg Hickey. And all our lovely analogue and digital machines show up as well.

Tell us a bit about your studio set up?
We use a mix of hardware and software. It offers the widest variety of sounds and processing and means that one of us can be working on the computer while the other one is at one of the synths or tweaking outboard effects.

Who are some new producers you like nowadays?
Loads of exciting producers around but we're really digging the raw sound of people like Rondenion, Marlow and Kyodai at the moment.

What’s the house music scene like in Cork?
It's a small but enthusiastic and knowledgable scene. The most exciting development in Cork over recent years has been the emergence of local producers - obviously people like John Daly and Chymera but also Shane Linehan, K-series, John Collins and more.

How do you feel about the current state of House music?
You might have to dig a bit deeper to find the quality but there is plenty of good music out there. And probably more variety at the moment than in recent years.

Where does Traxsource fit into your musical agenda?
Because it's more tightly focused on house than most of the other download sites it works for us as both a place to sell and get the word out to a wider audience.

Tell us something your fans don't know about you both?
Shane grows tomatoes. Greg just bought a Moog.

Fish Go Deep 'Draw The Line' is available NOW at Traxsource.com.

Osunlade In The House Interview [Traxsource.com]

As an all-round artist who truly lives and breathes for the various works he creates, Osunlade is almost without equal. Under various guises as a producer he has crafted some of the most enduring and evocative records ever made and as a conceptual artist and photographer, he has brought his unique vision to life with a huge variety of projects. Having drawn a line under house music production with his ‘last ever house album’ Pyrography last year, his latest mix project Osunlade In The House represents a closing chapter in his remarkable career. Here, we speak to the Yoruba master about the changes in the music industry, the new remixes of Envision and the importance of flying to vinyl flag…

Previously you have paid specific tribute to your parent’s musical taste with songs like ‘Momma’s Groove’… how important do you think those early experiences were in shaping what you do now?
They were the most important experiences. I mean my musical background comes from the music I heard my parent’s play. ‘Momma’s Groove’ is specifically true to that situation, my mom had Aretha Franklin playing all the time and my dad had James Brown. Growing up in St. Louis, because it was the Midwest we were allowed to hear a lot of the music that didn’t make mainstream because it was a central point. We got whatever flew through from New York or LA, music that didn’t make it into popular music. Funk and soul was very prominent so it was very significant and it is my music.

You haven’t lived in St. Louis for a long time what… made you leave in the first place?
It was just after high school the year of ‘88 I moved to LA and my father was very supportive and decided to send me to LA when I told him that I really wanted to do this music thing. I went out there and luckily connected with people in the music business, I believe I was in the right place at the right time. I guess it was just timing for LA specifically. I knew I had to leave St Louis it wasn’t really a conducive place for me. I believe I am a bit more open, it is very black and white. I think the education of music was great but to live there, but it’s a very small town I needed to get out.

Do you think you will ever move back to the states?
No I don’t think so, this is home forever I’ll be buried there for sure.

When you were a kid you used to visit records stores and it was the initially the artwork that got your attention and made you interested in what the music. Do you think that art is something that you’ll be focusing on over the next few years?
I don’t think I would focus mainly on art but I think it’s an important point. I believe that sight and sound go together. Even now that things are digital when people look at project it makes them wonder what it is. Therefore, if you take a lot of attention and care into those things it kind of draws you in to make you want to hear what this image is saying, therefore the art is very important for me.

What’s been the most challenging thing about running your own label?
The most challenging thing of running a label I think today is staying afloat. Ten years ago you made a vinyl, you sold it to the distributor, you got paid. Now there are so many different avenues and ways to get your music out there it’s really hard. Luckily I do have a great company like Defected which is not a record label but a record company that promotes and does a really good job. That makes the difference.

I read an interview that you did in with RA a couple of years back in which you said that the music business did not really exist… what did you mean by that?
In my view, music is free because of the internet. If you want it, it’s there. Today’s generation don’t have the culture of going to a record store and taking time search through records. Everything is accessible immediately; if they found out about it, they search it and download it. So in that respect I think there is no music business. Of course there is an industry but it’s not the industry that we used to know. I think it has come to the place that what we create as artists is sharing I suppose rather than a commodity now and it becomes a promotional tool. Most artists spend their time touring or performing, the project is promotion for that whereas in the past it was the opposite. I don’t know if I would say that there isn’t one, maybe I meant that the industry that I grew up in doesn’t exist anymore.

You said your last album Pyrography was going to be your last house project. Has the subsequent success of Envision change your of opinion of making that kind of music again?
No, I think my decision to not do another house album is definitely concrete. The success of Envision is actually interesting because I don’t live the lifestyle of clubbing, so I don’t see the impact of the songs. For me it’s more of a personal thing; I am older now and house has been a great vehicle for me. However, there is so much other music that I’ve created that has been pushed under the rug because of it. I just want to concentrate on other things that inspire me. I would like to challenge myself to do other things and as a 60-70 year old guy I can look back and say I didn’t just have all this club music but I had this substantial music for my soul. So it’s just a personal thing, although I am very happy with the success of Pyrography and Envision specifically.

The thing about house music is that it’s the only genre that I know that you spend two to three years on a project and instantly its out and it’s free, everyone has it and Jo Shmo has done a re- edit of it and suddenly there is like 15 million versions of your song and its like bastardising your soul. In other genres I don’t see it happening. For me it’s really sad and makes me feel bad when somebody just takes what you’ve spent time creating and says “check it out, I did a remix of your song!” That kinda pisses me off.

So with Yoruba do you think that more of the projects and artists that you will be bringing through will be non-dance music?
I hope it will be at least half and half. As it is now there’s still a lot of house coming out of the label. However, I’ve just signed some folk music from the Amazon so I would like to get involved more with that. I also have to be conscious that with my label and Defected, it has to be something that I can promote. Maybe we’ll create a new genre, who knows. In regards to the new compilation, you don’t do mix albums very often so what made you decide to do this one? Well we decided and talked about this last year so it has been a long conversation. I think it was kind of the right time – especially after Pyrography – and for me it’s kind of like a send-off for house music. I am pretty much hanging in my headphones, so this was an important project to for me, closing a chapter. I think it has been four or five years since my last one, this compilation is quite special for me.

What can people expect from the mix, what have you done with it?
With this mix I have tried to create – just like most mixes – a journey from deep to techy and with some exclusive remixes and some new releases from the label. I have also included sounds that people don’t usually associate with deep music like techier sounds. The first CD is a bit more of a getting ready for the club in your house, office or in your car. The second CD is more dance and club orientated and a little faster as well. Mostly for me it’s about creating a musical journey. I believe my style of DJing is different because I have not heard anyone that plays like me so the selection is very specific to my sound and what I like.

Did you enjoy putting it together?
Yes a lot, it was actually quite challenging because I had so many songs I wanted to showcase I didn’t manage to include everything I wanted but it was quite nice to kind of formulate what could work. I also did this mix about four times so it was a good one, it put me to the test.

You’ve got the new mixes of Envision coming out. How involved where you with the selection process of the guys and the remixes?
I wasn’t that involved outside of kind of hooking up with Argy as we did a swap of remixes. I like his style of Chicago house music. So outside of Argy I let Simon Dunmore A&R the project because the remixes are geared towards the Defected demographich. Envision was so popular in Ibiza so we wanted to do something kind of a new wave of Envision bringing it over to the new year. I believe that they are good mixes, I like the Tuccillo mix as well.

Is it a difficult thing to release control over a project?
It is the most difficult thing for me to let control go even if it is friends of mine. However, sometimes you get amazing remixes, for instance I actually prefer the Jimpster remix of Momma’s Groove to the original. So very rarely you have that happen, and sometimes you have these remixes that are less interesting, it’s a tossup but I guess it’s part of it. I guess that one of the things is that moving over from house music is to not have any remixes of my music. Hopefully it won’t be the same.

You mentioned previously that the amount of free music that is available is immense, obviously there are so many podcasts and there is much more that people can get for free. What do you try to make it more of, an attractive thing for someone to go and buy it rather than just get a podcast? What do you try do?
I put my face on it (laughs). No, joking, but again its all about the journey the style of DJing and the selection is really specific to my sound. I have music mixes on Soundcloud that are for free but with this mix I put so much thought into it and it’s very geared towards me but with Defected in mind. When I say that I mean to bring Osunlade in with a Defected project together it’s like merging a new thing. People don’t really associate me outside from the releases on my label they don’t associate me with the Defected sound, so I wanted to create a bridge for the two different demographics bringing them together. Most importantly for me it’s always about the journey.

Osunlade In The House is out NOW at Traxsource.com

[The original interview can be found here]

RushHour Q & A [Traxsource.com]

Over the past twelve years Rush Hour has cultivated itself into an institute for electronic music and a haven for music lovers worldwide. The reputation Rush Hour has built mainly comes from the fact that Rush Hour first and foremost focuses on music they totally believe in and have a love for. The Rush Hour family has a strong sense of pride in always working with and feeding off that impulse and faith, rather than working for the mighty dollar or bottom line. Rush Hour has always been this way.

What’s your involvement with Rush Hour?
I am one of two co-owners and am currently involved with the record label side of the business.

What is your methodology in choosing the artists that you sign vs. the ones you decline?
We select the music that we love and of which we think fits the Rush Hour label roster.

Yin is to Yang as Rush Hour is to…?
Music

What’s your favourite release on Rush Hour?
Obviously I would say they are all favorites, but Im really looking forward to San Proper's debut album as well as the re-issue of a lost New York house EP by Dream 2 Science (which is Cozmo D of Newcleus fame). There is also a Larry Heard remix in the pipeline of Tom Trago, which is ridiculous.

If not this job, what would you probably do?
I'd be up to no good.

Personally, what kind of music do you listen to at home?
When I get the time I listen to all kinds of different things. If I look at my last playlist I see music by William Onyeabor, Harry Nilsson, Paul McCartney, Falco, Fleetwood Mac, D.R. Hooker, Michael Kiwanuka, Cybotron, etc. It looks random, but its not.

What was the first record you ever bought?
It must have been Abba's 'Super Trouper' album which I bought with my dad. I still love Abba.. a lot.

As an independent, do you think the industry is in a better or worse state than it was 10 years ago?
We have been running the label a little over 10 years, of which the past few years more seriously. As a label we have never lived those 'fat cat' years. Although revenues might have dropped, its still possible to make a decent living and I think more people listen to our music than ever, maybe more if music didn't go digital. I ain't complaining... too much.

As far as musical output goes, there is more than ever. That means a lot if shit to shift through, but if you get to the good stuff its much fun. And I like the diversity and cross-influences. It kind of feels like it must have felt pre-MTV when there was lots of exciting indie music out there. You can really choose to tune in to what you like.

What are your artist or label tips for 2012?
Watch out for San Proper. Its going to be his year this year.

Check out the RushHour catalog today at Traxsource.com

[The original interview can be found here]

DJ Chus - House Masters Interview [Traxsource.com]

House Masters DJ Chus brings together 20 of the renowned Spanish producers original tracks and remixes, presenting them as the first comprehensive collection of his work. The compilation features a number of exclusives, including Kevin Saunderson feat. Inner City - Future (DJ Chus In Stereo Mix), Reboot – Enjoy Music (DJ Chus 2012 Re-Edit) and Glamsta feat. Candela - In De Guetto 2012 (DJ Chus Club Mix), while many of his classic remixes have been re-mastered for 2012.

How does it feel to be awarded the title of ‘House Master’?
Wow House Masters, now that’s a heavy responsibility. It’s an honour for me because this is a precious reward for all the hard work I have done all these years, but to be honest being part of the Defected house family is more than enough reward.

Your label Stereo is very well respected around the world… what is the most challenging thing about the running of the label?
I’m so proud that everyone knows about the label. One of the most challenging things about running a label is to keep your own identity but at the same time to evolve and improve your sound to keep your style alive.

Your love affair with house music started at the infamous Alien club in Madrid… what was it like to be involved in the acid house movement from so early on?
Starting my career in the acid-house movement was an eye opening experience. I remember it like it was yesterday. I was 15 and it was so crazy!

When did your break come in terms of DJing?
I started to feel like a real DJ in the early nineties, in a paradise called Portugal. I was resident DJ in a club called (1.53) which was the place where thousands of international DJs came to play for real clubbers. I played alongside Carl Cox, Deep Dish, and Roger Sanchez. That was the place for the real music of the time.

Can you remember the first record you ever made? Do you still have a copy?
I had some musical experience before, but the record I perceived to be my first baby was ‘Voices of Savannah’. This was a tribal record which was the starting point of the Iberican sound and from there I started to focus on percussion and lyrical elements in my tracks.

Tell us about your residency at Teatro Kapital… you were resident there for 10 years, correct? How did the club and music scene change during that time?
I was a resident at the first house club in Madrid for ten wonderful years where house music had the golden age in Spain.

Tell us about some of the records of which you’re particularly proud
DJ Chus ‘Got Feeling’… this record was so huge in Spain, I became popular after that and I will always remember being told by someone that they will never forget me because they made love for the first time to this song, so beautiful! Also ‘Back 2 NY’ I did this track with my friend Rob Mirage. I feel like New York is my second home, and this is my personal tribute to a city that gave me so many great things!

How do you see your career developing over the coming years? Are there musical goals you have set yourself outside of house?
I will keep working on the things that I love, I really believe in the things I do. Music for me is a way of life so for sure more and more quality music!

Tell us about some of the re-edits you made for this compilation
‘Enjoy Music’ is a good one that I always play in my sets, people go nuts to it, it’s one of those records that puts everyone on the dance floor in the right mood. I had a really great time and a lot of very good memories doing the re-edits for the album, I am so happy with it!

You requested to remix ‘Future’ right? What was it about that record that made you want to create your own version?
The first time I heard ‘Future’ I knew that this was a track that would make history. The big moment for me came when at ADE last year, dancing in the middle of the dance floor and witnessing the live performance that came with a Defected party. So you can imagine how pleased I was when Simon asked me to remix it, this was a very important challenge in my life and I put in all my energy into doing it.

House Masters - DJ Chus - is out NOW at Traxsource.com

[The original interview can be found here]

Deepinradio meets Robert Babicz

DIR: Hello Robert
RB: Hello !

DIR: It's good to have you here with us!
RB: (laughs)

DIR: Deepinradio supports your music a lot. Your style has various flavors, lies between deep, electro with funky basslines..
RB: Yeah i know (laughs). It is between everything, i know! I admire various styles.

DIR: With all these tracks coming out on digital stores these days what does really make an artist?
RB: From the technical sides there's no handscraft, everybody can put a few loops together.
But this is not music. Real music is something that touches your emotions.
You see when i do my music you can tell i am into it, i am really feeling it.

DIR: We could say that your style is pumpin and dark but so optimistic at the same time. You have your own style..
RB: Yeah that's true..

DIR: Well you travel a lot, you play so many gigs around the globe. What's your opinion about the underground scene?
RB: I play every week somewhere on the planet. At this moment it seems like electronic music has a renaissance, it's coming back worldwide. South america is extremely living. Two weeks ago i played Angola and i was really surprised! It was planned for me to play two hours and finally played for five and a half! And i am not a dj, i only play my music. So that means five and a half hours only Babicz!

DIR: Babiczstyle!
RB: YES!

DIR: So they liked your music.
RB: They were freaking out!

DIR: How about Europe, do punters dance like they did in the past?
RB: Yes they dance a lot! Last friday i've been to Budapest and there was like 800 people who were really raving!

DIR: You play live..
RB: Yes only. Last saturday i played Berlin and they danced a lot too. It has to be the right club though. I don't play cocktail music..

DIR: Your music leads us to the dancfloor straight away. What gear do you use when you produce your music?
RB: I use Logic but as you can see on my website i have a huge studio with a lot of toys (laughs)! I buy and renew my gear all the time. I am always searching, i'm never completely happy. I want to always get better.

DIR: You latest "What a day EP" which Deepinradio fully supported has two different styles. "What a day" is a downtempo easygoing chillout track and "I am here" is so uplifting. How can this occur at the same time?
RB: Yeah. For me it's quite normal. When i'm in the studio i don't repeat myself. If i do a dark tune today the next tune will not be a dark one. I always like to do something different. I have to change.

DIR: It is all made with same gear?
RB: Yes it is always with the same gear, but i like to experiment. It can be 115bpm or 116bpm. Now as i am working on my new album i am experimenting with slow but heavy beats. And i enjoy it alot. When you are experimenting with slow beats you have a lot of space between the notes. It's interesting and it's different. It's good to have a groove that is really rolling but slow...

DIR: Tell us more about this new album of yours.
RB: It will be out on Systematic, Marc Romboy's label. It was planned to be ready by the end of December but with so much travelling around for gigs, time is tight. So we decided to plan it for release on april or may 2012. It will be available on vinyl and cd, like a real album..

DIR: Back in the days there was that beautiful "Cheerful Temper" album. It was a step ahead for your music, for what you had done until then.
RB: (laughs) Well the same goes for my latest album "Immortal Changes". I had a lot of tracks that were completely different to what was happening at that time. I'm not really into trends, i don't care about what other people play. I produce the music i would like to listen to.

DIR: And that goes for your gigs too. You only play your music when you perform. How come?
RB: In my music i have so much to say already i dont find a reason to play other people's tracks.
I produce so many tunes. Furthermore i am a musician, i like to improvise..

DIR: And a very special one. And that is what makes your dj sets sound so fluent, like a soundtrack of a lifetime..
RB: The music i produce is telling you a story. and that makes a difference. My music is not just a tool of elements like beats and basslines and percussions. I imagine my music like in a theater stage where sounds do something. There are things happening.

DIR: I suppose you think like that when you produce too.
RB: Yes. I try to position sounds around the tunes. Give some dramma to the final result..

DIR: ..and there are always a few tricks. You never stop discovering new sounds everytime you listen to those Babicz songs..
RB: When you listen to my music the first time you think that is easy and basic but later you discover how complex it becomes with a lot of things going on..

DIR: ..with heavy beats and basslines and a few pads to light things up..
RB: (laughs).

DIR: Thanks a lot for your time Robert. Looking forward to your new music and dj sets!
RB: (laughs) OK!

John Tejada Interview on FabricLondon.com

Beginning his DJ legacy in the early 90’s, John Tejada has become a regular fixture around the European club circuit and it was in 2004 that the synth loving producer would lay down the two techno tracks that would nail his careet. The classics ‘Sweat On The Walls’ and ‘Mono On Mono’ were instant smashes and compounded his fixture in the techno world.

This year’s ‘Parabolas’ album on Kompakt came with its own upstanding cuts and for Tejada’s visit to Room One on the 15th he reveals for us he’s planned a hardware and digital environment where the album can be relived in all its glory, as well as helping us all get down to a good old fashioned geek out.

Hey John, How’re you? What’re you up to at the moment?
I'm doing really well. I'm just working away on the usual, doing a couple of remixes and getting the live show ready for the tour.

Starting from the beginning of the John Tejada we’re familiar with, you started making music and DJing from a really young age playing drums and DJing hip hop - What was the main thing that spurred you onto move from hip hop onto electronic music?
I got into electronic music because hip hop as well was experimental electronic music at it's base, especially some of the earlier synth and 808 based tracks or artists like Mantronix. I already had a preference towards these sounds because of the hip hop I was into, so when i started hearing the same type of sounds in house and techno, I just began to follow that more and more.

Were there any artists in particular or tracks that you listened to at that time that made you think - hang on this is what it’s about?
There were some tracks being played as part of the hip hop scene here. One of the first I remember being thrown into the mix was Model 500s "No UFOs." All Juan's projects like Cybotron, Channel One and Model 500 were big out here, but No UFOs was the first thing that sort of spoke in a different way. After that you'd hear more Chicago and New York house with hip hop elements and it all just began to make sense.

You have two decades of work in music - ‘Sweat on the Walls’ and ‘The End of It All’ seem to have stuck out in people’s collective memories - would those be the the tracks you’d have singled out or were others more important to you?
I think those 2 along with "Mono On Mono" were definitely the most successful.

What is it about these track that you think have made them so special for people?
I would be more interested to hear people's thoughts on that myself. I keep plugging away and some things work for people and others don't. ‘The End Of It All’, was a track I felt had a special feel when I made it.

You run Palette Recordings where you release the main body of your work - after successes on some of the most revered techno labels in the world - why did you decide to start the label?
I started the label in 96, 15 years ago, before most of my releases, apart from a couple of early things. I started it back then to just have the freedom to release what I wanted without anyone telling me how to do it.

Do you find this more of a freedom or an added stress and distraction from your studio time?
I feel it's an added freedom for sure.

You must be sent demos a lot of the time - is there a reason you’ve kept it mainly to your output? 2002 was the last time you put out other artists work.
Even after 15 years I don't think of it as a proper label. It was set up for myself and Arian Leviste's own output, which then expanded to also include my newer collaborators and some releases by other artists. The other artists that have appeared are very close friends. At the moment however, the label is just set up for myself and collaborators.

This year your new album was released on Kompakt - ‘Unstable Condition’ has got to be my favourite track from the album, how did this track come to be? You’ve previously said that you have no strict pattern of working..
I still don't have any patterns when it comes to starting a track. On this track however, the basis was a real 909 running live, not sampled or plug in. I wanted the drums to have the real feel and sound of some older records I think sound cool that way. The big chords are the Code and all the other synth bits come from the modular.

In general which machines were your set up for this album? Or did it differ a lot from track to track?
I have some hardware things I really like, but not everything is running on every song. So every track does have it's own set up in a way. I think the only constant thing that always gets used is the modular set up which has expanded quite a bit. Some stuff used on the album is my eurorack modular gear (different manufacturers), studio electronics Code Synth, Moog Voyager, Rozzbox 2, bits of real 808 and 909 running.

Logic’s a big part of your production and you’re clearly not biased towards either hardware or software in production - Logic’s EFM 1 was your favourite in your 2009 ‘Machine Love’ interview for RA - have there been any digital developments over the last few years that have impressed you as much?
The EFM was a part of Logic that I cited because I always forget this really amazing little synth is built in. So many of the built in plug ins get taken for granted, at least by myself so it's fun to rediscover them. However I think i've only used the EFM once. Now that you've reminded me, perhaps I'll try it again.

I still mainly use Logic with a bit of Ableton time to time. Ableton can be good for my collaborations to quickly record things as they are happening, but when it comes to making and arranging music I'm at home in Logic.

The digital tools I'm most happy with at the moment are Madrona Labs Aalto synthesizer plug in. I finally got to try a real Buchla synth and that's when I realized how cool and Buchla-like this great little plug in is. Audiospillage Drum Spillage drum synth plug in is also one I'm enjoying.

Do you have a pure hardware set up still for your live show or do you integrate it with digital technology also?
This time it's a mix. There's a computer involved and a synth or two. When I do a hardware only set its more difficult to recreate some of my works, especially the stuff on the new ‘Parabolas’ album since many of the phrases are much longer and it isn't as loopy. I find when I do a hardware only set I end up with tons of material that was written just for the live show. This is fine and all, but this time my main focus is to play things off the album in a new way. When I do shows with another person live, then I feel a pure hardware set up is the way to go as there's someone helping out if things start to go weird.

fabric’s a regular destination for you, what’s different when you come and play here?
fabric has such a professional staff that there really isn't anything like it when it comes to being taken care of. I can pretty much plan anything show wise and have complete comfort in the fact that it will all be set up properly and go off without a hitch. It feels like a proper concert and I always look forward to that.

Ben Westbeech Q&A

Singer, songwriter, DJ and producer Ben Westbeech follows up his 2007 debut album, Welcome To The Best Years Of Your Life, with the long awaited second album, titled There's More To Life Than This. The album took four years to finish and involved collaborations with well-known producers from all over Europe. The man at the heart of it lets us into the creative process and his life preceding the album release.

What is your approach to song writing? Where do your ideas come from?
I have a great studio in Brick lane, which is where I make a lot of my music now and it is such a creative place - you’re surrounded by lots of lovely shops and art and a really eclectic mix of people. You’re also next to a massive record shop called Rough Trade so it's great to hear lots of new music in there. My surroundings and the people around me all affect my music and the things I write about.

What is your new album about?
I wanted it to carry on meaning from the last album but also comment on where I was as a person now. I feel it encompasses all these things. There is always more you can get from your life. Wherever you happen to be in it.

What song on the album is most significant to you?
Let Your Feelings Go - I just love the vibe, the melodies and harmonies of the layered vocals and George Levin’s bass playing... It reminds me of a smoky jazz club, being lifted out of yourself and talking about an experience with someone else. It is me to the core. It takes me into a different place when I sing it live.

Your album took four years to finish, how have you changed as a person and were you faced with any particular challenges?
I have grown up a lot. I became disillusioned with music for a while after touring stopped - I had done a lot of partying and just burned out a little. I was a bit confused about what direction to take my music in. I had a lot of fun times and a lot of bad times over the last four years, and it took me a while to want to make another Ben Westbeech –record. But now I’m ready and inspired again: full of energy to create more music and play live again.

You’ve collaborated with many producers on this album, what were the reasons for doing so? What was the experience like?
It was so we could experiment with different angles and I could work with people I'd loved and respected musically for a while - to get a mixture of sounds and styles. I chose people by their sound and vision about making records; mostly on previous work or just people I'd met along the way. I hadn't worked with any of the producers before so it was all about a new musical experience and for me to get pushed and come out of my box...

Midland - A decision by my manager, he is a very talented young house producer and I love the tune Stronger we made together. It is a very personal tune to me. It turned out great and I play cello on it too.

Henrik Schwarz - Henrik is the most amazing thinker and musician. We worked on Inflections in Berlin at his home. I feel it is the most mature tune on the record and it takes you on a journey. I also played cello on this tune.

Motor City Drum Ensemble - Danilo is a very good friend of mine and I wanted to work with him for a long time. We always talked about it and finally got to do it on this record. Justice is a protest song about the world we live in.

Danny J Lewis - I'd heard some of his music through my A & R for the record and so wanted to work with him for his soulful style. Something For The Weekend turned out very summery and reminiscent of So Good Today.

Rasmus Faber- This was a suggestion from the A & R at the label. I heard his music and was instantly uplifted. We made Butterflies and Summer’s Loss together in Sweden. It was freezing cold! He is a brilliant producer and now a good friend of mine. His chops are crazy...

George Levin - George is mad! He is so musical and funny. It was sometimes difficult to work with him as we are both singers! But this added to the quality of the music we made. We had a mad energy together and the music I made with him speaks for itself.

Chocolate Puma - I had the best time in Amsterdam with Gaston and Rene. We made some great music and it was a shame the other tracks didn't make it onto the record.

The album was recorded over 12 months in several countries, any memorable moments?
I fell into a big hole in the snow while walking with Rasmus Faber. I also went swimming in lake Geneva with Michel Cleis. It was very cold! For me the best part is meeting other musicians and producers for the first time and not knowing where it's going to go. I enjoy eating food with them and meeting their families and friends.

Who would you like to work with in the future?
I would love to work with Paul Epworth.

What are you listening to at the moment?
I listen to all types of music: classical, jazz, dance, hip-hop. I love Totally Extinct Dinosaurs, Eats Everything and Tame Impala at the moment. They are in my stereo. Oh, and Toro Y Moi. I like them.

Have you played at any festivals this year, what were the highlights?
Secret garden party is the best one I've been to this year. I love the setting and the people. It is such a good vibe. It reminds me of how Glastonbury used to be. I did a solo live show there to an amazing crowd. Good times.

What can we expect for the live shows?
The new album and some of the tunes from my old album. The band consists of me, bass, keys, drums and samples. We do not play to a click track, which gives us a lot of scope for improvisations and scope to extend and take tracks into different places. I feel so happy I can tour again and play live. I am excited also at the prospect of playing to my fans again and to see and hear their reaction to the new music.

What’s your Strictly Rhythm?
Hardrive – Never Forget (When You Touch Me)

There's More To Life Than This is out NOW on Strictly Rhythm

There's More to Life Than This | Ben Westbeech Releases | Strictly Rhythm

Roberto Rodriguez Q&A

How would you say your releases have performed over the last 6 months or so…are you happy with the reception ?
During the last 6 months i´ve released some remixes and the Thinking Of You EP on Fina, which turned out to be a very functional release on a very functional label :)

You got off to a good start on Serenades with the Manolesque EP – do you have any other artists that are set to really explode over the coming months?
The next Serenades release is a super cool collaboration of Johnwaynes from Portugal and the voice of the moment - Stee Downes. Its a track called Never Enough - a damn fine vocal house bomb. Towards the end of the year Serenades will release a lovely synth pop song from Juho Kahilainen which will take Serenades exploring the pop side a bit more.

The PRDS collection contains a lot material…was it tricky getting all rights from the labels ?
It wasn´t really that easy. But as this collection is sort of like a small portfolio of the stuff i´ve been releasing the past few years, it was essential that some of the tracks were included. I think this is a really nice way to show people some of my favorite remixes and productions which came out on e.g. Comost, Freerange, Delusions of Grandeur to name a few…. There is so much music being released every week, so it’s understandable that many of these works have already been forgotten. Now they get a second chance.

There is a great variety of sounds and styles on the compilation...was it tricky combining those various styles in a single mix?
It wasn´t that difficult because these different styles since i know the tracks by heart, but some of the trickyness came from me wanting to make the mix more like a home listening mix rather than a dance floor oriented one

Why should we go out and buy this release?
As i said its a very nice compilation of house music that deserves a second chance. Its the perfect food for many situations… in the livingroom, on the terrace etc etc …

Can you tell us what else is coming up on this year?
At the moment i´m preparing my forthcoming artist album which i hope to have finished after november. Just in time for the february release on Serenades. I´ve also done a quite a few remixes that are coming out this fall. I guess the biggest remix at the moment is my take on the Energy 52 classic "Cafe Del Mar"

Anything else you’d like to tell us about…?
If you respect good music, buy music. Prefer quality over quantity.

Check out PRDS Collections pres. Roberto Rodriguez today at Traxsource.com

Victor Simonelli Q&A

Growing up in Brooklyn, what influenced you musically?
My Dad's Record Collection, Radio, Family, Friends, Neighborhood, Clubs, The Music In The Streets, in parks, on beaches, on Subways, Other DJs, Producers, Musicians, the Environment ,Atmosphere and Surroundings as a whole.

How did you get started in house music?
Growing up in Home full of records (My Dad's record collection), I could not avoid music. My earliest memories are digging through his collection. At age 10 or so, My Grandparents gave me my first Box (A Sanyo). Within minutes I was tuning up and down the dial, and started recording cassettes off radio almost instantly. This was when the term "Disco" was widely used and there was nothing (that I knew of) like N.Y. Radio. By the time the term "House" (amongst other genre names) started being used, I had suitcases of cassettes recorded (which I still have), my own record collection (which includes some from my Dad's collection, lol) , was doing Mobile / Block parties, and just started attending Center For Media Arts on 26th Street. (answer to this question, continued in question 5)

What production are you most proud of and why?
That's a tough question for me to answer. I go for putting my all, into all the Productions I do, and am doing. I can't say that I am most proud of any one Production.

How did you end up working with Arthur Baker?
After Graduation from CMA, (and after trying for almost a year, and being turned away many times), I finally got internship at Shakedown Sounds (Studio in N.Y. owned by Arthur Baker). Internship (atleast back then) is just a nice way of saying Gopher, (Go for this, go for that, lol). This was my "foot in the door", as the saying goes. So much talent was working there then, and it was such an honor for me to be there.

After interning for some time at Shakedown, I was working nights in the office, answering phones for the studio, etc, (though letting it be known what I would really like to do the whole time, lol) , one morning Arthur called, and said that "no editors were available to come in today" and asked me if I would like to try Editing for him. I said Absolutely. When he arrived at the studio that morning, we went into the editing room, and we listened to the tapes. This was when all mixes were mixed down to 1/2' Tape, and Arthur would do many passes/versions to work with, such as Inst, Percapella, Vox and Drums, Drumless Mix, Bonus Beats, etc etc, so there were many tapes to listen and go through. Editor's job was coming up with a "Club Mix" (or Dub Mix, or other specific version) using bits and pieces from each pass. In other words, coming up with one version, using the best parts of all the versions provided on the tapes.. After doing this for Arthur for the first time, I was fortunate that he was satisfied with what I came up with , and from that point forward, he had me edit almost every Project he was Remixing and Producing (If you would like, a picture from the Editing Room at Shakedown from that time, here, http://www.vjsproductionsinc.com/photo/photo/foto38.jpg , where you can see the tape machines). I pretty much lived at the studio from that point on , and Editing moved into Mixing, Remixing, Production, Writing, and allowed me to meet many others in the Industry.

You introduced a lot of today's house Producers (and Artists) to the scene and/or helped them with releasing their first Productions/Remixes/Songs (Jay J , Angel Moraes, Brian Tappert + Roy Grant, Jazz & Groove, John Julius Knight, Sandy Rivera, Julius Papp, Danny Tenaglia, Bobby Konders, Sabrynah Pope, Sabrina Johnston, Michelle Weeks,, etc etc) How did you find and/or connect with them?
Music is how we found one another. Some examples,

Angel was spinning at mutual friends birthday party in Bklyn. I was really into what he was playing, (and he then dropped a few of my tunes and surprised me). I introduced myself, and let him know I was really enjoying. We talked some more, and I invited him to the studio. That turned into his first mix, then second Mix, led into him producing on his own and creating Hot N Spicy Rec, with Sound Factory Bar Owner Jeff. He eventually moved to Montreal and started Club Stereo.

Brian spinning and Roy on keys (Jazz N Groove) were playing at WMC Banquet (back when WMC had Banquet Dinner on last night of conference) in Miami when it was at the Fountain Bleau. I was loving what they were playing during the banquet, and went up to talk with them. They told me they had just started dabbling with Production, and I said I would love to hear the Productions they were doing when they were ready. A few months or so later, they sent the first cassettes, followed by many more, and also material from John Julius Knight, and Marc Pomeroy. I was mostly working with Sub Urban , Bassline Rec, Big Big Trax, Playtime Rec, and Bklyn Trax at the time, which is how we released the material. After they had been Producing and Remixing for several years, Brian (With Marc) started Soulfuric Rec. Roy is doing private parties now , and just completed brand new Remix of "I Know A Place" (amongst other versions) now available on Traxsource.

Jay J was a Billboard Reporting DJ based in San Francisco. He had contacted me to play some of his parties in S.F. This was Shortly after Bassline Rec started. He gave me some of the tracks he was doing, and asked if I could assist with Releasing them. One in particular was demo he did with Julius Papp of "Not Gonna Let". He asked if we could get Colonel Abrahms to (re)do it. I called Colonel, arranged a session with him in N.Y. , and we recorded his Vox for it. Jay then started Moulton Street Studio in S.F. and eventually moved to N.Y.

Sandy had already been producing (though had not done any remixes as of yet), I was loving what he was doing ("I Need Shelter" , "I Hear My Calling" etc).I asked him if he would like to Remix song I had just finished titled "Dreaming Aint Enough". This was His first Remix, and West Side Rec's first release and I thought he did a nice job with it. (By the way "Dreaming Aint Enough" now being released on Traxsource, West Side Rec, with Sandy's Orig mix + Brand New Mixes by Matt Early and Cristopher Ross, who are also very talented and just getting started now).

Danny T had just moved back to N.Y. from Florida. We knew one another through mutual friend Peter Daou. I had been working with Peter doing tracks for Nu Groove, and Danny was working with Peter on a couple of Remixes (for Atlantic Rec, going from memory). I was doing an Editing session at Quad Studio on James Brown Single for Scotti Bros Rec, and Dan called and asked to come by. He brought a demo that he had just done (His first Production as I remember) , and asked if I could assist with releasing it. At the time I was working much with Minimal Records, so I called Arthur who had moved his Studio to another location, though still in midtown. We made appointment with Arthur, and went by Arthurs studio together. I was glad to assist however I could, and introduce Danny + Arthur. We listened to track together. then went to Editing room and after several hours of Editing, had Final mixes completed of "The Harmonica Track". It was initially released on Minimal Rec , and later (re)released by Maxi Rec and eventually included on one of Dave Mancuso's Loft Box Set's.

What do you think of the state of house music today and where do you see it going?
Though Gear, Formats, Labels, Names, etc, may Change , I think the music that we love, feel, and appreciate will Go On and On and On. Breathing , Heartbeat and pulse are all rhythm. I think, as long as there are people, there will be dancing.

You wear a lot of hats.DJ, Producer, Publisher, Label Owner, etc. What is your favorite role.
Creating Music is my favorite of all.

If you weren't involved in music what would you be doing today?
I have no idea.

Tell us something we don't know about you.
I feel like I am only just beginning, and I thank God for every moment.

Check out Victor Simonelli "The Original King of New York" today at Traxsource.com

Basti (Lovebirds) Interview

Where are you and how do you feel?
Currently I'm just in berlin and goin to bucharest this afternoon and I am feeling absolutely great ;)

The new release has an amazing vibe and has been selling great on Traxsource, what is the inspiration for this track?
It's been quite a while, actually just had a look - February 2008, that I did the instrumental. A year later stee sent me his first vocal ideas and I was instantly in love with it. If I remember right I really loved that "Spellbound" tune by Marcus Worgull at that time, so that might have been an inspiration ;)

We heard you have recently had a flood in your studio, is that all fixed up?
Not really, my studio wasnt hit that hard, it's more the studios in the cellar that were 50 cm under water. My floor needs to be redone though which means I have to get everything (incl. that 1000 kg heavy harrison console) out again. I just moved into this room 2 months ago ...

How is life in Hamburg these days? Take us through a typical day in your life?
Ha ... I guess usually my cat wakes me up, then breakfast, then studio, lunch, studio and then some cooking at home in the evening.

Are you still Djing regularly and what was the best moment in recent gigs you can remember?
Yeah I'm djing regulary. Best moment recently was probably a night in Georgia which wasnt actually that packed but everything just went perfectly!

Are you playing vinyl CDs laptop or USB these days?
Traktor Scratch with timecode vinyl. I was sick of burning CDs. Plus the future of DJing will be in this direction obviously, why not switch in time then.

How has technology changed your approach to DJing?
There is so much more possible with looping and efx, I also love to work the tracks with eqing and fx so it totally gave me a new possibility to create tension and vibes.

Mac or Pc? Why?
Mac always was and probably always will be. Never had a reason to switch.

How has technology changed your approach to producing music?
Almost everything is accesable for almost no money, I think these days its more about reducing the possibilities and focus on only a few things. Maybe even just an MPC for example.

Tell us something we dont know about you ?
My 3 favourite animals are cats, monkey and squirrels! That's actually 3 things ;)

Vodka Redbull, Single malt Scotch, beer, Goldshlager? Which is the best one to make music with?
In the studio or DJing? DJing my absolute favourite is a Hendricks Gin with Fentimans tonic water and some cucumber. Not really drinking so much in the studio, mostly Sauvignion Blanc or beer recently.

You can find the original interview on Traxsource here

SONAR Festival Barcelona 16.17.18.19 June 2011 | Live Sets & DJs

Sonar by Day