House Music, It's La Cosa Nostra

Interview

Minterfiew: Mord Fustang

Mord Fustang. Remember the name.

Why? Because he’s the next Wolfgang Gartner, and he’s poised for big things.

I had the privilege of chatting with Mord on the eve of his brand new release which has taken Beatport by storm.

1)The Electric Dream (Original Mix)-Mord Fustang ***FUEGO***

Sorry guys, I can only give you a little tease, a preview of the fuego. Support your new favorite artist and pick this 6 minute banger up on BEATPORT!

 

B10: Describe your “sound” in a run-on sentence with a lot of made-up adjectives.

MF: An adventurously nude fluctuant immaculate rainbow-coated thunderstorm with arpeggios, 1-up mushrooms and disco basslines, plus a wobble or two.

B10: Your two previous works which are featured on your myspace are straight up Dubstep at its best. How did you decide to make the transition over to Electro-House for your first major release on PlasmaPool?

MF: Oh, you know, dubstep is everywhere right now and the two tracks were in fact created just for fun, to experiment. Especially “Mushroom Disco”, which also shows my affection to the 8-bit era of video games. I’ve actually been a fan of electro house much longer than I’ve been a fan of dubstep. I have a very varied taste in music from Deadmau5 to something like King Crimson.

B10: Speaking of PlasmaPool, the record label is poised for big things in 2011, behind the amazing leadership of Miles Dyson. Unlike many DJ/Producers who own their own label, Dyson seems very hands-on with PP. How did you get involved with his label?

MF: I had been following Miles and Plasmapool for a while, totally loving his sound. The day I finished “The Electric Dream”, I immediately sent them the demo, to which the label gave a quite quick reply. Miles is an awesome guy and I wish to meet him in person some day.

B10: The internet, and the blogosphere in particular, has become somewhat of a double-edged sword for Electronic Artists. In one regard, for an up-and-comer like yourself, the hype that you can build on the blogs is unprecedented. At the same time, the downside is that often blogs feature music for download illegally and can cut into your profits. What are your thoughts on the “give and take” that this relationship presents to the artist?

MF: Filesharing will never go away so there will always be piracy. I just hope that a good chunk of the pirates are actually not pirates at all, they just sample the stuff and are more likely to pay for legally obtained music than people who don’t download at all. So yeah, as long as there’s people out there who will still buy what they perceive to have value, it’s all good.

B10: What kind of set-up do you have in your studio? What midi-controllers/plug-ins are you using to make these amazing tunes?

MF: My studio is my laptop with Ableton Live. I also use FL and Reason for different stuff, but Live is the core of it all. Off the top of my head, some of the plug-ins I use are Minimoog, Sylenth1, Nexus and Live’s Operator. I have to say I am not a fan of sample packs and I rarely use any. I like making stuff myself. Also, I have no controllers, so everything is programmed with my mouse.

B10: One of America’s hottest electro-house producers, Skrillex, has gained world-reknown for his prowess in producing both Electro-House and Dubstep. Can we expect a return to Dubstep for Mord Fustang? Or have you decided to take your focus in a separate direction.

MF: Yes, there will probably be some of that, but there will definitely be more of the electro sound aswell.

B10: If you could collaborate with any other producer in the studio who would it be and why?

MF: There are many artists I’d love to collab with, but for now, I’ll say Deadmau5. I remember hearing his stuff for the first time a few years back and it was quite enlightening for me.

B10: You are headlining Ultra Music Festival’s Main Stage. There are upwards of 70,000 people staring at you in eager anticipation. What 3 non-Mord Fustang records do you play, and why?

MF:

1) MMHMM (Original Mix)-Hatiras

Funky as hell, loving the filtered house feeling as well as the blips.

2) Grand Theft Ecstasy-Feed Me

This is such an inspirational tune! Electro house at its best!

3) Return of the King (Lazy Rich Remix)-J Scott G, Imprintz, Kloe

Totally hits the correct notes for me. Love it!

B10: 2011 Is already proving to be the year of the Fustang, with The Electric Dream already garnering incredible hype, and people labeling you as the next “wunderkind”. What will 2011 hold for Mord Fustang? Will you be supporting any artists on tour or *Fingers Crossed* perhaps a US appearance?

MF: There is definitely more to come from Mord Fustang. No particular tour plans yet, but I can’t rule anything out. I just hope everything goes well. I wish you all the best! Thanks for the interview!

What a guy. Stay tuned, Mord Fustang is about to take over the world.

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Interview: Skeet Skeet

My Los Angeles Odyssey had many highlights, but one of them had to be bumping into the unmistakeable Trevor “Skeet Skeet” McFedries in the VIP room of Trousdale.

Skeet is posed for big things in 2011. His productions are so complex and ragetacular that you can only imagine my excitement when he told me he’d be down to do an interview for B10.

But first, Skeet Skeet’s newest production, an SHM-inspired remix of the Black Eyed Peas’ “The Time”

1)The Time (Skeet Skeet’s “Silverlake House Mafia” Remix)-The Black Eyed Peas ***Fuego***

B10: Describe your sound in a run-on sentence with a lot of made-up adjectives

Skeet: Ummm fun party music that makes ur ears ring sometimes and sometimes not so much depending on what mood im in cuz i dont really have a sound i just make whatever the fuck i feel like at the moment.

B10: Last year, you worked with PeaceTreaty on the Blah Blah Blah (Rave Rave Rave Remix). The final product yields a sound that is both Skeet Skeet-ish and PeaceTreatyish at the same time. What was the dynamic collaborating on a track with three other dudes?

Skeet: At that time it was only Josh as “peacetreaty.” We had talked online for a couple weeks then we went to lunch one day and he told me he was goin to spain for engineering school and was just messing around making beats. I basically told him to take that shit serious cuz he has a lot of gifts in production and then we went back to my pad and banged it out pretty quick. I had my poppier version done and got to kinda let him run the FL studio rig and do his thing.

B10: Are there any other producers in particular that you would love to collaborate with?

Skeet: Bangladesh, Justin Martin, 40 (Drake’s producer).

B10: Speaking of production, what kind of equipment and software are you using to make all of these filthy beats?

Skeet: I’m 99% in the box i work in ableton live and barely use a midi keyboard. Do almost all of my programming with a mouse or with my computer keyboard. Soft synths i use mostly are albino, nexus, predator and circle.

B10: The blogosphere has undoubtedly played an integral part in bringing electronic music back into the mainstream in the US. As Dance music has now seemingly cemented itself into our culture, what role do you see the blogosphere playing going forward as a medium?

Skeet: Blogs have become an integral part of all media, blogs have been huge in my success  so I can only see them gaining momentum but becoming more filtered as people become more savvy with them.

B10: You yourself are an avid blogger, with a whimsical site whose topics span far beyond music. What is the mission of Eatskeet.com?

Skeet: Just a little inside into what im checking out on the web. Lots of dumb videos and music I dig etc.

B10: LA seems to be a perfect breeding ground for young electronic music producers, with two world-renowned weekly parties (Dim Mak Tuesdays and Control @ Avalon), an abundance of blogs, amongst them GDD, and a plethora of up-and-coming producers such as yourself, Dillon Francis, and Religion. What would you say to the fledgling producer who just bought his first synth and has no idea where to go from there?

Skeet: I always say find what makes you different, when I started making dance music noone I knew was. I think that was what pushed me into some notoriety there just werent many dudes making the kind of music I liked. If you’re into polka and dubstep go there polkastep fuck it who knows where it may go for ya. But music has to be an extension of you.

B10: You have gained critical acclaim for your remixes. As your popularity swells and soars into 2011 can we expect a lot more original mixes from you as well? What can we look forward to from Skeet Skeet in 2011?

Skeet: Skeet ALBUM! About 12 songs into it so far, been working with some amazing songwriters and friends all over to just kind of go in and see what happens. The whole idea for the album is just to call my friends get in a studio and make a song and see what happens. No real theme, i have stuff with Bonde Do Role thats 145 bpm and stuff with Donnis thats 87 bpm. A lot like my dj sets i guess all over.

B10: Speaking of your tunes, what is your favorite Skeet Skeet track?

Skeet: I didnt think anyone would dig my Broken Social Scene remix but thats probably my favorite remix ever. Also really like the tune  I did with DZ

1) All To All (Skeet Skeet’s Trap House Remix)-Broken Social Scene

2)Bizarro Funk– DZ & Skeet

B10: You have played at SBE Hot-spots like Hyde, as well as festivals such as Lollapalooza and Coachella. What is your ideal gig and why?

Skeet: Man i dont know probably somewhere in australia those kids are so mental I love playing there. Ya big day out australia with 12th Planet and 3oh!3 and nadastrom and diplo annnnnd rage against the machine my favorite dudes to dj with and my fav band ever.

B10: Lastly, You’ve got the Main Stage at Ultra, with thousands of hungry electro-house heads waiting for you to drop some dope beats on their heads. What three non-Skeet Skeet bangers do you play?

Skeet:

1) Flex- Schlachtofbronx

2)Those Dancing Days (Cassian Remix)-Monkey Safari

3) Chicken Run (Max Le Daron Ravecumbiaton Refix)-Canblaster

B10: Thanks for your time!

Follow Skeet Skeet on Twitter. He’s hilarious

Show your support for all the free tunes he bangs out by Liking him on Facebook

Download all of his remixes for free on his Soundcloud!

Get inside Skeet Skeet’s head on his website, EatSkeet.com

Also, Big ups to all the BHHS homies, Kope, Bru, Kerman, Gleitman, Trevor,  doin big things.

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Interview: David Berrie

With every new production, David Berrie’s sound continues to evolve in complexity. His newest track, a remix of the Beatles’ “Dear Prudence”, may be his best work yet. On the verge of his second appearance at NYC Dance-Music Mecca Pacha on Xmas Eve, I had a chance to speak with Berrie about the New York City Dance Music Scene, his sound, and the expansion of Dance Music as a genre.

First, Berrie’s newest masterpiece.

1) Dear Prudence (David Berrie Remix)-The Beatles ***Fuego***
This is big-room, prime-time, face-melting amazingness. The original vocal sample works brilliantly casting a dreamy aura over the techy, progressive banger. I know I’ve already stated this, but Berrie’s sound is primed for Ibiza. Somebody book him there asap please.

B10:  So David, New York City clubs always seem to be a step behind Miami in terms of the music selection. A couple years ago, In order to get one’s fix of dance music, one would have to go to Pacha, Webster, or Term 5… But with the inception of House music into the mainstream, and the introduction of high-end clubs such as RDV, Provocateur and LaVo into the city social scene, are the open-format, eclectic days of Tenjune and 1-Oak over? And do you think NYC will ever catch up with Miami?

DB: Well first off, I think as long as top 40 exists there will always be open format venues. Second, in terms of the music selection, I don’t think New York is behind Miami; it just has its own niche. New York has just always been known for that dark and heavy drums sound.  In terms of the house scene I actually think New York is bigger and more diverse, it’s just not so obvious. Between the mega clubs, bottle service lounges, smaller music venues, loft and warehouses parties, it’s all spread out.

B10: As we speak, you are on the verge of your second headlining act at Pacha. You have made numerous appearances at Palladium, and your original productions are receiving critical acclaim on the blogosphere. Surely it wasn’t always gravy though. Recall your worst gig ever, and tell us exactly what made it so horrendous.

DB: Actually, definitely one of the worst gigs ever was this past year at Palladium.  The place was fully packed and I must have been only 20 minutes into my set when someone dropped one of those huge Jeroboams of champagne at a table in front of me.  It splashed up in the air, spilled all over my laptop and within 1 minute everything shut off!  The club was dead silent and it took a few minutes to get some random music back on.  My laptop wouldn’t turn back on, so I was forced to sit that one out.  I was so mad – there was so much energy in the room and I was so hyped. It could’ve really been a memorable night.  My laptop randomly turned back on a month later.

B10: As a University of Wisconsin student I have witnessed first-hand the evolution of your style from the eclectic party-friendly mix you played at the Mifflin Day Party two years ago, to an entirely Electronic Dance Music set at Dayglow which featured hard electro tracks like Congorock’s “Babylon” and D5’s “Right This Moment”. What, in your mind, has been the strongest factor in the way that House music has ingrained itself in American culture, seemingly overnight?

DB: It’s really impossible to pinpoint one factor that boomed house music in the US. But generally music works in cycles.  So couple that with the help of David Guetta, the electro craze, people giving up on hip-hop, kids studying abroad, and a million other factors… people finally came over.

B10: If you could be a supporting act for one artist on tour right now, who would it be and why?

DB: Carl Cox.  He is one of my all time favorite deejays and is a huge influence, then and now. His energy is unbelievable.

B10: You’re at Space Miami during Ultra weekend. It’s 6am, the sun is coming up, Pete Tong taps you on the shoulder and tells you he needs to take a leak, and to drop a couple of tracks. Thankfully you have your external in your back pocket. You step into the booth and see 800 of the most hardcore house-heads staring at you. What three songs do you play and why?

DB:

Beachball (Joris Voorn remix)-Nalin and Kane

Voorn’s remix of that classic, for me, is the holy grail of sunrise music.  A great example on how a track that’s not four to the floor could kill a dance floor.

No worries-Butch

The “La Mezcla” of 2010 if you will.  Soulful, sexy, sampled house at its best.

White-Carlo Lio

Carlo Lio is a monster; he has got to be one of my favorite producers this year. His sound is so identifiable. Every track is so simple yet it has so much depth and funk. He’s definitely someone to keep an eye on in the underground circuit.

B10: Thanks for your time!

New Yorkers make sure you come support David at Pacha this coming Friday at his second headlining appearance. It’s going to be quite the spectacle.

-2%

 


Interview: Lucky Date

Jordan Atkins-Loria, alias Lucky Date, has taken Electronic Dance Music by storm, seemingly overnight. As one of the pioneers of what he calls the “Complextro” movement, this young DJ-Producer sat down with us to discuss the development of the House-Music movement and his own personal sound.

But first, some hot hot heat from the man in question.

1)Get Down (Lucky Date Remix)-Richard Vision & Trash Yourself

 

B10: So Jordan, describe your sound in a run-on sentence with a bunch of made-up adjectives.

LD: Ridiculously obnoxious abrasive confusing hardcore thrashy dutchy electroy dubstepy dance music.

B10: Not a lot of people realize that the American House Music movement started in Chicago with the likes of Frankie Knuckles and Louie Vega. With a plethora of up-and-comers such as yourself, Midnight Conspiracy, and Dani Deahl all based out of Chicago, the emergence of Rehab @ Debonaire, and the inception of North Coast this past summer, it seems like The Chi is undergoing an Electro-House renaissance. What is the next step in getting Chicago on the same plateau as NYC, LA, and Miami in terms of the Electronic Dance Music scene?

 

LD: Chicago is kind of a strange place.  The roots of almost all EDM stem from Chicago House.  There will always be a great house music scene in Chicago just like there will always be a good Blues scene.  As far as electro goes Chicago has always been struggling to compete with the other major US cities.  There are a few good electro events that go on in Chicago, but there hasn’t been a party thats comparable to CONTROL at The Avalon in LA, Girls and Boys in New York, Fuck Yessss in ATL, Robotic in OKC, or Blow Up in SF.  I am excited about a new mega club that will be opening up soon in Chicago called “The Mid” Which will feature Electro every Friday with headliners such as Steve Aoki, and MSTRKRFT.  It will be cool to see if that night takes off.

B10: You are part of another new movement as well, let’s dub it the “Dirty Electro” movement. With the likes of Skrillex and Zedd at the forefront, and young guns like yourself and Porter Robinson ascending the DJ/Producer ranks at blinding speeds, Are there any other up-and-comers in your sub-genre that you’d like to make us aware of, and who of your Dirty Electro peers would you most like to collaborate with?

LD: Dirty Electro or “Complextro” is definitely taking off in a big way right now.  I am very happy that Porter, Zedd, Skrillex, Dirty Loud, Alex Mind, and Far Too Loud are becoming so popular!  My style is definitely related to the “Complextro” sound but I try to incorporate many other genres into my songs.  I have mixed feelings about “Complextro”, part of me loves it.  I am so impressed by the technical skill these producers are putting into their work.  I also love how “new” the sound is.  I also feel like “Complextro” might be going a bit over the top sometimes.  Part of what makes a good dance song is the simplicity of a catchy bass line.  “Complextro” is leaving behind that aspect which I think can sometime confuse the dance floor.  I think it is awesome but I am also going to go back to producing some catchy simple songs in the future.

B10: Your remix of House Icons Spencer & Hill has garnered critical acclaim, hitting the Beatport Top 10 in Electro-House and triumphantly launching you into the global scene. What’s next for Lucky Date?

LD: Originals. Lots and lots of Originals.  I’ve spent the last year remixing my ass off.  Now its time to write originals and hopefully get some new fans out of it!

B10: When one listens to the complexity of your production it is clear that you see music and sounds in a way that very few of us can comprehend, and it becomes apparent that you are a student of all music. With the exception of dance music, what other genres and groups do you like to listen to in your spare time?

LD: I listen to STS9 alot.  I also listen to Hip-Hop pretty much all day.  I got a soft sport for classic rock and blues aswell. Buddy guy and BB King are two of my biggest Idols.

B10: You’re backstage at EDC. Deadmau5 is closing out the night. He comes down from the cube, takes his helmet off, and tells you to jump on for a couple of songs. Thankfully you have your external in your back pocket. You climb into the Cube and stare out at 80,000 Dance Music fans at the peak of their rolls. What 3 non-Lucky-Date tracks do you drop and why?
LD:
Absolutely love this song even though its old as fuck, and I know Deadmau5 fans are starting to really get into the Dubs Wubsy
This bass line makes me move like no other right now! I literally cannot stop listening to this track.  The original is good too but this remix takes the cake.
This track is too sexy, love the shuffle, love the drums, love the synths.  Perfect Minimal/Tech track IMO.
B10: Thanks for your time!
Don’t sleep on this incredibly talented young producer.

 

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