Mid tempo electronic music is getting ever more popular, and Marlow’s latest EP is a great example… Continue Reading
We’re just about back to normal over in Oh Drat HQ now, so thanks to everyone that’s stuck with us during the transition! The Questions is back once again, this time with Brighton UK based My Digital Enemy. The house duo’s hoover-happy work has crossed swords with fellow producers Prok and Fitch, and being the dot joining types we are, we’re happy to bring forth their responses to our Questions. You know the drill by now…
The name of the first song I was really proud of was called: ‘Falling Stars’ we did under the pseudonym Sunset Strippers
Most fun person I’ve ever worked with: Prok and Fitch [catch our Prok and Fitch interview here – Ed]
Best musical advice I’ve ever been given: Keep on going
A piece of gear I couldn’t live without: VXT 4 KRK Speakers
A piece of gear I wish I could live without: Mackie’s Big Knob
My studio environment in three words: Assault on-the senses!
Prok and Fitchs’ star has been rising steadily over the past few years, as DJing has turned into a knack for production and the pair juggle between stage and studio. Their style changes from techy to melodic and much inbetween depending on their moods, and their latest single is a re-version of Chemical Brothers’ Star Guitar. Find it at the end of the interview!
We chatted to the English duo about what it’s like to work in a pair, the importance of not being precious when it comes to making music, and of course got a few tips for you guys too.
“We both have very different ideas, so we kinda just make music in the way we’re feeling at the moment” – James Fitch
Oh Drat: To start off, when it comes to your style how do you go about getting different moods when creating music, and what inspires you to make music that fits into certain places?
James Fitch: We both have very different ideas, so we kinda just make music in the way we’re feeling at the moment. For example six, seven months ago a lot of our tracks weren’t quite peak time enough in our DJ set so we started making some more banging stuff, and at the moment we’re trying to make a little bit more melodic… it’s just whatever we feel like doing to be honest.
OD: I see; does the two of you together having different ideas mean that without a partnership your music would come out very differently?
Ben Prok: Yeah, I think that there being two of us means that we compromise on things, you know, we both have different ideas in the pot so to speak. I think it works really well because we’ve both got quite different tastes in music and they complement each other in the studio with the way that we come out with something that’s fairly unique every time.
OD: So when you say you have different tastes in music, do you listen to very different styles outside of house?
BP: I’d say fairly…
BP: I mean, we both appreciate what the other person listens to. I get subjected to a lot of shit that my wife listens to (laughs) – Rihanna, stuff like that…
OD: Okay, so you can’t see yourself doing a Rihanna remix in the near future then?!
BP: Er…! We wouldn’t say no to doing one, I don’t knock that music, but personally it’s not my taste; a bit too poppy for me really. I can appreciate that it’s popular, but I think the fact that it’s on the radio all the time makes me dislike it a little bit, I think.
OD: I see. Do you think in general there’s an aspect of that with all types of music, and perhaps genres of music are affected by it in different ways. Take perhaps the most obvious example and look at how homogenous the pop interpretation of dubstep has become…
BP: I think there’s this music around that I call ‘bandwagon music’. David Guetta comes along and then everyone tries to make records that sound like that, you know. That’s where I think things lose their individuality, whereas dubstep’s still quite new and fresh I think. It’s going down that route, but it’s still relatively quirky compared to everyone trying to sound like David Guetta – or Swedish House Mafia, every track has to have a big trancy breakdown now.
Santos’s style has both evolved and refined since his 2000 breakthrough Camels, with three solo albums, a heap of aliases and a seemingly insatiable desire to keep moving. His latest album, If You Have Meat You Want Fish, out next week (check the album minimix below!), has a refreshing techy feel, with progressive and percussive overtones… we asked him The Questions, and here are the answers.
The name of the first song i was really proud of was called: “Camels”- It was a radical music innovation.
Most fun person i’ve ever worked with: My dad, he’s 60 years old and we talk about Villalobos, Prodigy, Giorgio, Moroder, Lemon Jelly etc.
I couldn’t live without: “Spectrum Analyser”
Best musical advice i’ve ever been given: In 1992: “Use control change parameter 74 for filter cut off midi automation!!”
A piece of gear i couldn’t live without: Spectrum analyzer.
A piece of gear i wish i could live without: Cables
My studio environment in three words: Hybrid analog-digital enterprise!!!
A song i wish i’d written: Carl Graig pres Paper Clip People: Throw.
If i could do it all again, i’d: Exactly the same.
Santos has a new sample pack from Loopmasters too – you can get those tech house sounds yourself with Private Tech House Collection now…
This week we’ve got two for one on The Questions, as Dan Berkson and James What, collaboratively Berkson and What! (what else?!) square up to the task. Releasing music both individually and separately, they flit between soulful deep house and a percussive, understated techno bounce that could see their music being played at various times during a night depending on the context of what they’re rubbing shoulders with – and their new Loopmasters sample pack might help you achieve the same thing – take a look. Here goes…
The name of the first song I was really proud of was called: Dan: “Easy” – Gourmet Recordings .
James: The Dig – Poker Flat.
“it’s not what you play but what you don’t play” – Berkson
Most fun person I’ve ever worked with: Dan: Robert Owens.
James: Robert Owens.
Best musical advice I’ve ever been given: Dan: It’s not what you play but what you don’t play…
James: Drop the kick on the 3.
A piece of gear I couldn’t live without:Dan and James: Roland Space Echo.
A piece of gear I wish I could live without: Dan and James: Roland Space Echo (one of them is always broken so we have three between us)
My studio environment in three words: Dan: Big Green Disco.
James: Big Yellow Storage.
A song I wish I’d written: Dan: “In Time” Sly Stone.
James: A Day in the Life – The Beatles.
If I could do it all again, I’d: Dan: skip this last question.
James: Ask for the dressing on the side.
Check out a preview of It Feels Wrong, the forthcoming single from James What…
Reminiscent in ways, to my ear at least, of Madlib and ?uestlove’s more afrobeat focused production styles, Drum Talking is the debut EP from Mo Kolours. An involving soundscape, comprised largely of interesting percussion and voices as instruments, simple mantras, and a melting pot of production styles that hint at afrobeat, dub, funk, house, and flickers of more besides, there’s a an at once crisp and tender sound to the EP.
production styles that hint at afrobeat, dub, funk, house, and flickers of more besides
Mo Kolours’s vocals are both soothing and mysterious, and the limited vinyl run is is hopefully an idea that he will turn into an ongoing feature of his work.
Stylistically, the 20 minute six track sits in a curious space between balearic house, dreamlike electronica, and folk.
Stylistically, the 20 minute six track sits in a curious space between balearic house, dreamlike electronica, and folk. There’s refreshing variance in tempo, and the various sounds and influences contained within are made congruent by their immersion in a soundscape that marries rich reverbs with white noise and dusty percussion and the fragile beauty of Rae’s vocals.
If you’re quick, you can get the EP as a free download…