INTERVIEWS

21/05/13 INTERVIEWS , NEWS , Photos and Videos # , , , , , , , , , , , , , ,

VIDEO Seth Troxler + Subb-an Interview for Eastern Electrics

 

sethWe continue our series of videos leading up to Eastern Electrics Festival in August with this funny video of Seth Troxler and Subb-an having a chat at Snowbomning. Seth and Subb-an will both be playing at the main event, Seth Troxler appears on the main stage and Subb-an appears on the Crosstown Stage both on the Friday of the Festival.

Eastern Electrics Festival takes place on 2—4 August 2013.

Check out the full line-up and get your tickets from easternelectrics.com/tickets

 
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17/05/13 INTERVIEWS , NEWS # , , , , , , , , , , , , , , ,

An Interview With… Solomun

Solomun

 

Ahead of his gig at the IMS Grand Finale next Friday and the start of his busy 2013 Ibiza season we managed to catch up with superstar DJ / producer Soloun for a quick chat. Heres what he had to say:

Charlie (SP): Hello Solomun. Thank you for taking the time to talk to Soundplate.

Solomun: Hello, you’re welcome!

Charlie (SP): Obviously you have the difficult job of juggling your time between your label ‘Diynamic’, your club ‘Ego’, your radio broadcasting, your DJing and of course your own music production as Solomun. Which of these do you find the most challenging to keep on top of?

Solomun: This is a tough question, because you have to do all those things with your full attention and passion – and if you can’t, you should stop doing it. For sure DJing is a different thing from producing, because you get the direct connection to the people and you know immediately if something is working or not. In the studio it’s completely different. For Diynamic I have to judge new tracks as well as new artists, and you can imagine I’m very happy to not do this alone, but with the whole Diynamic family together.

Charlie (SP): It seems with every production and release that you put your name to, you capture an emotional ‘moment’, something that is often difficult to achieve in dance music. Is this something you go about doing, or is it something that happens naturally with every track you work on?

Solomun: Music is always about moments and moments you remember are very much connected with emotions. I guess it happens quite naturally because in a way it has become part of my musical DNA, to find emotions in music. And I always try to mix things up and take risks – sometimes it works, sometimes not.

Charlie (SP): Does every song you produce resonate with you on a personal level, or do you sometimes write songs purely for the dancefloor?

Solomun: My tracks doesn’t necessarily have to work on a dancefloor, but they always have to reach me on a personal level.

Charlie (SP): There is a pretty era defining shift at Pacha this summer, with Solomun + 1 taking over Sunday residencies. Will this be your primary focus this summer, or will you still be producing as much as you have been?

Solomun: That’s a good question, but I am actually running two residencies in Ibiza this summer, at Pacha and at Sankeys, as well as playing festivals on the weekends so there won’t be time to produce until October at least. So, my primary focus for the summer will be to play and play and play!

Charlie (SP): Obviously Neon Nights will still be running at Sankeys?

Solomun: Yes, that’s really good news. We continue our Neon Night journey at Sankeys. The whole Diynamic family will play there, we will open the newer and bigger white room with a brand new sound system this season. We all are very excited about it and can’t wait!

Charlie (SP): You are also appearing alongside the likes of Scuba and Sven Vath at the IMS Grand Finale at the end of the month. Are you excited about this? There are some great talents on show that weekend.

Solomun: Of course, it’s an honour. You know, last year I came to the Island as a rookie and this year I’m playing the Grand Finale with Sven Väth and others.

Charlie (SP): You were awarded Mixmag’s DJ Of The Year in 2012. It’s an amazing accolade and must feel like one of the pinnacles of your career. How has winning affected you as an artist?

Solomun: Of course this was and still is a big honour, but I seriously hope it didn’t affect me as an artist, no, I’m sure it didn’t. I feel the same motivation since I started to DJ, of course I never expected the success of the last year, but my motivation still is the same. I mean, I don’t wake up or work in the studio or play in the Booth and say to myself: DJ of the year, yeah! I just do what I’m doing. But I am well aware that I’ve gained much more attention since, which can be both good and bad!

Charlie (SP): Via Diynamic, you have put out the likes of Ost & Kjex, David August, Karmon & Adriatique amongst many others. But away from Diynamic are there any artists you’re particularly digging at the moment?

Solomun: I like to concentrate on the artists we already have, for me it just feels better.

Charlie (SP): And similarly which labels are doing it for you? Any up and coming German labels we should know about!?

Solomun: There a so many good labels!

Charlie (SP): Hamburg always seems to have the firmest place in your heart, with your studio being based there as well as your club EGO. Are you a believer in the phrase ‘home is where the heart is’? After extensive touring schedules it must be pretty refreshing going back there.

Solomun: I always have my studio with me, in these modern days you don’t need much for this, but I am hardly ever in Hamburg, so when I am there, I am really happy. But there are so many other nice places where I really feel comfortable, like Ibiza, London or, believe it or not… Dubai.

Charlie (SP): And finally, if you could choose any artist to work with, dead or alive, who would you choose and why?

Solomun: Honestly, that I can work with Roisin Murphy means a lot to me. And the fact that Roisin is coming to my closing at Pacha is really great, because she is only coming to me on Ibiza this summer. Also that I could do a remix for the Foals was a real pleasure for me.  Back in the day I desperately wanted to work with Frank Ocean, but I think we were waiting too long with asking him and meanwhile he became too big I think. In any case he didn’t answer me until today. So if you’re reading this Frank: If you need beats and a fat bassline, I’ll be there!

Charlie (SP): Thanks for chatting to us Solomun – and good luck for this summer!

Solomun: Thanks a lot, you’re welcome 🙂

ims-flyer-friday-http://www.internationalmusicsummit.com/ibiza/events/grand-finale-festival-39

Solomun will play the IMS 2013 Grand Finale Festival @ Dalt Vila on May 24th, Ibiza full line-up and tickets click here.

 

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08/05/13 INTERVIEWS , Photos and Videos # , , , , , , , , , , , , , , , ,

VIDEO: Soundplate x Eastern Electrics – Guy Gerber Interview

Photo by: Julian Emsley - Soundplate Meda

Photo by: Julian Emsley – Soundplate Meda

Soundplate Media have teamed up with Eastern Electrics Festival for 2013. We will be bringing you a series of videos in the run up to this summers big event! Check out the video below where we catch up with Guy Gerber ahead of his performance on the krankbrother stage on the Saturday of the Festival.

Eastern Electrics Festival takes place on 2—4 August 2013.

Check out the full line-up and get your tickets from easternelectrics.com/tickets

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18/03/13 INTERVIEWS , NEWS , Photos and Videos # , , , , , , , , , , , , , ,

VIDEO – Justin Martin at The Dirtybird Players Tour – [Soundplate Interview]

544567_524596830912105_39241644_nOn Friday we went down to Village Underground in Shoreditch for the London leg of the Dirtybird Players tour (presented by Mixmag). While we were there we caught up with Justin Martin to give him the Soundplate award he won earlier this year and film this quick interview!

 

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12/03/13 INTERVIEWS , NEWS # , , , , , , , , , , , , , ,

An Interview With… Climbers

CLIMBERSAfter a hugely successful 2012, Soundplate caught up with Mexican duo Jay Blakk & Kiko Deal aka Climbers ahead of their massive 2013 live schedule..

Charlie (SP): You guys have only been releasing music together for just over a year now… are you surprised with how quickly things have moved? Or was it one of those ‘Eureka’ moments when you got in the studio together and you knew things were right?

Jay Blakk (Climbers): Well for us its been an incredible ride, we are just so blessed to see how people react and support to our music thru the web and each time we go and play to these incredible cities. And trust me when I say each time we go to the studio we try to print ourselves in the music, with the feeling we have that exact moment.
We truly believe life is all about moments.

Charlie (SP): You’ve just remixed ‘Hey, Hey’ by the mighty Dennis Ferrer, how did this come about?

Kiko Deal: Well it original the idea from our manager Andrew Salsano, and once we knew it was this track we said yes. We respect so much Dennis Ferrer and also this track we love it, so in the studio it was an incredible flow and each time we are playing it people go crazy.
We are really happy with this remix.

Charlie: And Frankie Knuckles on the remix of your own track ‘Left Your Love’?

Jay Blakk: Well what can we say. Its just incredible to say the least to have the Godfather of House music to do a remix of one of your tracks. Once we got the news from our friend and partner in crime Silky that Frankie loved it and he was down to do a remix we just had the best feeling in the world, and let me tell you that we just got the remix from the legend and the track I truly believe is going to be one of those tracks your going to listen a lot in the summer, he did a timeless track.

Charlie: It seems as though you guys don’t like to give too much away with your recent 40 second ‘snippet’ previews, which of your forthcoming releases are you particularly hyped about?

Kiko Deal: Well we want to keep it really close each release, but we are really excited about our next single with Get Physical along with the girls of Blond:ish when they came to our town to make some music and there is the result. Obviously we are super excited about our single Left your Love on our label Faceless Recordings along with our partners and friends Silky and Barber remixes. And also a release on Off Recordings and some remixes.

Charlie: As you mentioned, you’ve just started your very own label ‘Faceless Recordings’… are you likely to be releasing more forthcoming material via your own outlet, or will labels like Get Physical still play an important part in the Climbers setup?

Jay Blakk: When we started with the idea of opening our label it was for 2 things first of all to support new acts that we think deserve to be heard and involve our friends in the label too, and of course to release our music. But Culprit and Get Physical are those two labels that have been always there for us and we will keep releasing music with them because we are part of the family, and you know that family comes first.

Charlie: You’re confirmed to play the Akbal Music Showcase alongside fellow Mexicans Betoko, Robbie Akbal, Balcazar & Sordo and Miguel Puente. Obviously Betoko worked wonders with your track ‘Equal Responsibility’ towards the end of 2013, while Balcazar & Sordo jumped on the remix of Miguel Puente’s ‘Baby Gurl’… you guys all seem to really love working with each other. Does it feel almost like a brotherhood between you all? And are there any more Mexicano collaborations in the pipeline?

Kiko Deal: Yeah it will be a great show, well yeah Betoko did an incredible remix for our track and all these guys we have mad respect for them, because they are working so hard to make Mexico a respected country in the electronic scene.
Right now we have Balcazar and Sordo doing a remix for the second ep of Faceless Recordings and we have 1 track we haven’t released we did with Betoko so good things going on.

Charlie: Are there any artists you particularly love at the moment?

Jay Blakk: We are feeling a lot the Innversions guys and Life And Death those two labels are incredible, but we really love what Clarian North from Footprintz is doing, he is an incredible guy and he deserves all the good things.

Charlie: And finally, if Climbers had to choose one of these scenarios to play out with a famous celebrity/celebrities, which one would you choose and why?

– Skinny dipping with Rihanna
– Doubles table tennis with Aphex Twin and Richie Hawtin
– Cheese rolling in Gloucestershire with The Prodigy

Kiko Deal: I mean I would love to skinny dipping with Rihanna but alone, if you throw Monica Belluci I would go with her and leave Rihanna to Jay.

You can catch Climbers playing this Friday at The Akbal Music Showcase at Sidlings Warehouse in London.

https://www.facebook.com/events/158670947619714/

akbal-music-showcase-in-london

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18/01/13 INTERVIEWS , Photos and Videos # , , , , , , , , , , , , , ,

VIDEO – LOUIE VEGA (A Few Minutes With) [BRIGHT NIGHT TV]

Our partnership with Brightnight TV continues with this short but in-depth interview with House legend Louie Vega. We managed to spend a good few minutes with him at the last London Soul Heaven party and he told us some great stories! Check out the video below and let us know if you enjoy it by leaving a comment or tweet.

Filmed & Edited by @JamesBlakstarJ exclusively for Soundplate.com

 

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19/11/12 INTERVIEWS , NEWS # , , , , , , , , , , ,

Interview: Pete Tong – Future Sounds

Pete Tong & Reboot’s new compilation ‘Future Sounds’ is released today. To mark the occasion our friend Greg Sawyer managed to catch up with him for a chat.  For more than 20 years, Pete Tong has championed underground dance music both on the airwaves and off them. Without question one of the most influential figures in the industry, he has recently launched a new radio show, Evolution on I Heart Radio in the US and in the last few years has been devoting more time to producing his own records alongside studio partner Paul Rogers.

Possibly one of the busiest men we’ve ever tried to speak to, Pete nevertheless found time to get on his ‘soap box’ about the technical art of DJing and give us his vote for the best dance record ever, with plenty more besides.

You’re spending a lot more time making records now than you did at the start of your career. Nowadays you can’t really make it big now without making records, so are you trying to reinvent yourself through what you’re doing now?

Yes and no. I mean, I was just too busy before. That was a kind of excuse as well I suppose but I really was. When I started DJing it was, like you say, probably more about running a club and being a good DJ and finding the right music. And you probably had to be a bit more of an entrepreneur back in the day. I mean, when I started the only way of advancing yourself was through radio, and I loved it and that was why I got into it. But the idea of making music was so difficult because you had to get a record deal – the process of doing it was so hard.

Once I got into the record business I was fortunate enough to be able to interact with all sorts of people over the years. I mean I made a record with Chris Thomas for fuck’s sake! He was the engineer on ‘Dark Side of the Moon’ and also produced the Sex Pistols. So I got a huge amount of experience, travelled all over America backwards and forwards all of the time. But it never came to me to make music.

Through the 2000s I started teaching myself Logic and being a bit of a geek; it was a curiosity and an artistic thing of just wanting to get in there and do it. It was slow at the start. I’ve had my studio now for 4 years which I’ve always wanted. Before, it was just a problem finding the time.

So does that mean that you are less busy now than you were?

No, I’m still a little bit too busy. But we’re making beats every day. I’m always on planes making beats and then coming back and giving them to Paul [Rogers] and evolving them. And we are doing quite a lot. And then suddenly a film score comes along…

And that takes a few months of your life…

Something like the score for Harry Brown does. Then the music making goes on the back burner a little bit because the mind-set to do score is quite different from doing beats and it fucks you up a bit to do both. I love making music and I want to do more. I kind of shocked myself with ‘Dawn’. I mean it took so long, but I thought, fuck me; I should do it more often.  It literally started with me on my own on the piano and then it evolved from there. And I always said I wanted to get a singer. I know it sounds weird me saying that; you probably think “he could get anyone he wants”, but it doesn’t work like that – or maybe it does but I never ask.  The first person I asked said yes. And then we had to wait about four months to get him in here – Cedrick – so it worked out.

And there were a few different incarnations of the record before you considered it properly finished…

Yeah it started out as an instrumental and then, like most things,  I just kept playing it and I kept hearing a tune over it myself and I kind of befriended Cedrick from Azari & III and as soon as I played it to him he loved it. It took a while to get it done as he actually wanted to come in and work on it together. I’ve also just done a track with Meggy.

And that’s on the new compilation, right?

Yeah the early version of it.

So in terms of the remixes for ‘Dawn’, how did you come to decide on Blondish and Jaymo & Andy George?

We decided to make it a family affair at the end of the day. It’s funny, I spend my whole time immersed in it all and every day with something else to do, so personally when it came to that decision, I didn’t actually do that much about it. I suppose if they had come back and it wasn’t very good then I would have asked someone else to do it but I don’t think anyone turned us down. And they all came out brilliantly. I don’t think Andy & Jaymo have ever done a mix like that before. And that was probably at the start, my favourite, but then the Hot Since 82 has since become the biggest version. That’s the one I hear everywhere now. It’s an odd feeling to hear your own music out and about.

With all the focus on making records that there is – especially for new breaking artists – do you think there’s a danger of the more technical art of DJing being slightly lost? Because there a lot of people now who make a big record and then are asked to DJ and then can’t actually play at all…

Yeah. You’ve put me on my soap box now. I’m passionate about the art of DJing and I do definitely think that that’s the case, but I suppose hopefully it will sort itself out. I think that in the techno world what you just said doesn’t necessarily apply. A lot of people who make music in the techno world do not necessarily go onto DJ and there are more people who are more happy to sit in the studio. But on the EDM, sort of more commercial side, big room tunes, you’re seeing a lot of that happening. Because the records blow up so big and a lot of the characters are so young and then they’re off on the circuit straight away.

I think the art of DJing is first and foremost to be the curator – picking the songs and playing them in the right order. And I still hold true to that. It’s like it’s a given that you’re supposed to be able to mix but I think there are still people coming through who are really brilliant DJs. I mean Eats Everything is a brilliant DJ and could literally DJ with anybody’s records. He’s technically gifted and has also got great taste and he’s just a natural – he has a great feel for what you need to do to rock a room. Maya Jane Coles is a really good DJ. She can select a bunch of music and if you didn’t know who she was you might thing she made it all. In fact it’s all made by other people but it sounds like her. Deetron’s like that too. Picks amazing records and has amazing taste. There’s a lot of good DJs coming through who are technically gifted and great curators I think. But you know definitely, yeah, it’s an issue.

With the focus switching very much towards live performance as a revenue stream for artists and labels, do you think that there’s a danger they are going to price out people who want to go to these events. Ibiza for example gets more and more insanely expensive with every year that passes…

I think the market will find its own level. I’ve always thought that. Yeah that exists but then DC10’s packed out all of the time and so is Sankey’s, which has a cheaper policy. So something is going to sort itself out there. And that old thing about “we have to put prices up because DJs are charging more” is just bollocks. Basically the DJ puts up his prices because he is filling the club. And if he always fills the club then it kind of works – people can always stop coming or if the DJ can’t fill the club, then he can’t get the money. I do think that those things iron themselves out eventually.

In terms of Ibiza this year, everyone always comes back at the end of an Ibiza season saying it was the biggest and best ever. Do you think that that’s the case for you?

I don’t think it was the best. We had a great season and we enjoyed it and I’m glad I did it. But no, I wouldn’t say that. I think under the surface it was quite a tough season with the Spanish economy. I think we were all surprised about how that took the carpet out from under everybody. So I think you had to be reasonably smart this summer. Obviously there were success stories. I mean Ibiza is so kind of honest. Just when you think something is guaranteed, it’s not necessarily guaranteed. That’s why I always love going there. It’s like going to the world championships, or the European championships, or the World Cup. It’s to be in there, battling it out against the best. You’ve got to work it out about how to make it work. It’s not easy.

So your new Future Sounds compilation is out this week. Are you happy with how it’s turned out?

Yeah definitely, I’m always happy. Well, I picked them, so I can’t blame anyone else! It just reflects the way I’m evolving, slowly. I was trying to reflect where I feel the future lies. I think music with a bit more consciousness and a bit more soul and obviously the tempo’s come down a bit. There’s still a lot of vocals and the ability to rock a dance floor but like it’s almost a negative, a complete reverse polarity from the Swedish House Mafia kind of style. It’s just evolution and trying to look at the future.

It finishes with ‘Benediction’ which is probably one of the most hyped records in the last few months, and probably the first deep house record has been in the UK charts for quite a few years…

Well this is the exciting thing about England. You can see it in ‘Benediction’ and some of Art Department and Maceo Plex’s stuff.  You know you’re onto something when 16 and 17 year olds are going as nutty for it as 30 and 40 year olds – that’s when you know you’ve got something dangerous. And that’s what this compilation is about. Take Finnebassen for example; one of the only times he came to Ibiza and I saw him play – there were loads of girls, it was young and they were going crazy for him – and if you listen to the kind of music he makes – it’s quite subtle and its quite deep, so I think the climate is changing and its being led by the UK; that’s what’s exciting about it.

Jamie Jones recently went on Facebook to kind of defend himself against accusations of ‘selling-out’.  Why do you think that he thought it was necessary to do that?

Well when he was number 1 on Resident Advisor there were people saying that he’d crossed the line. He’s experiencing what Digweed and Sasha used to have. When you’re seen as a figurehead of a movement then the train spotters, the haters, always seem so loud. It was a letter to Mixmag in 1985 and now they have the world because they’ve got Twitter and can make so much noise. But still ultimately it’s that opinion from the man in the pub.  Jamie’s a passionate guy and loves his music – he hasn’t changed in what he’s doing.

Surely it must be a good thing for the scene in general to have someone who is so highly regarded in the underground scene as well as having chart success as well?

Yeah and I’ve heard a lot of the album and its incredible. It’s going to be one of the most important albums of next year. They could be like Massive Attack and we should cherish them.

Finally, as Mixmag are getting on the poll action with their ‘Best Dance Track Ever’, what is it?

I don’t know what it is, but I was almost prompted for the first time in my life to write a letter  to Mixmag the other day because I did cast my eye over the poll and I was quite outraged that in the shortlist ‘French Kiss’ wasn’t on there. I just couldn’t understand how you can possibly do a list of 30/40 records and ‘French Kiss’ wasn’t there because I think it still does resonate in techno and in underground house– it was such a seminal record. I certainly think that in my career with the A&R hat on, it was the most potent thing we ever signed.  It was a radical record then and it’s still quite is a radical record now.

You should definitely try and get it on there…

I thought about it today riding my bike. Shall I bother? Nah.

Pete Tong & Reboot Future Sounds is out now

CLICK HERE TO BUY!

Interview By: Greg Sawyer 

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24/10/12 INTERVIEWS , NEWS # , , , , , , , , , , , , , ,

Interview – We Sink

Our friends at Symbols Recordings recently interviewed the up and coming greek music production duo We Sink. Bonnie (music contributor for Soundplate) read the interview and found it so interesting that she got in contact with Kastle at We Sink who gave us permission to re-post it here for you all to enjoy!

Read the full interview below:

KASTLE: So tell us about yourselves! How did you both link up and when did you decide to write music together?

NICK: I met Dimitris about 3 years ago during our studies at SAE insitute. Back then, we were both mostly into Berlin house and minimal techno and at one point we decided to have a jam session together. When I went over to his place, he opened the door and said: “I’m going to play you a record, but be careful, because you may not be able to listen to anything else for the next six months”. That record was Mount Kimbie’s “Sketch on Glass”. Six months later, when at last I was able to listen to other stuff, in order to take my revenge, I told him to check out Fantastic Mr. Fox. The next day we started WE SINK!

KASTLE: How is the bass music scene in Athens? Have you been influenced by other countries or artists?

WE SINKThere is barely a bass music scene in Athens! It’s good to see a few cool people though, like the music collective “Black Athena”, that have started to bring that kind of sound to our city through events and radio shows. Our influences in general, don’t draw from any country or scene specifically but from artists from all over the world.

KASTLE: Now that your debut EP is out, what are your plans on performances? Any live shows or DJ gigs?

WE SINKAt the moment we are only doing DJ sets, but we are definitely going to set up our live set in the near future. We have a couple of gigs ahead and hope for more to come!

KASTLE: You’re EP has received tons of great immediate response, from an XLR8R feature to feedback from some world-class artists. Was there any feedback that specifically surprised you or that you were most excited about?

DIMITRISI was thrilled by all the positive feedback we have got, but especially Troy Gunner’s who is one of my favourite producers at the moment.

NICKDJ Shiftee & Ooah of Glitch Mob for me! I could’t believe we’ve got feedback from such great artists.

KASTLE: Besides other music, where do you find inspiration to create?

DIMITRISFrom rainy days & video games. Especially from RPG’s. :p

NICKFrom getting drunk and eating junk food!

KASTLE: What’s next for We Sink?

WE SINK: We are really looking forward to collaborate with some very interesting artists we have met recently. Also working on our second EP, some free tracks and our live set!

Follow We Sink: Facebook | Twitter | Soundcloud | Purchase EP

Check out Symbols Recordings:  http://symbolsrecordings.com/

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