Interview with ‘Movement of Whale’ Producer SevenDoors


We hope that by now all of you immediately recognize the beautiful production that is ‘Movement of Whale.’ Produced by SevenDoors, a new producer from the UK, the track finally came out earlier this week on Diynamic after being long supported by Solomun since early this year. We had a chance to sit down with the producer to celebrate this incredible release.

Could you introduce yourself to our readers?
My name is SevenDoors and I am DJ and Producer from the UK.

Congrats on ‘Movement of Whale.’ We are always thrilled when beautiful tracks like this one blow up because of strong support from well-established artists. How did Solomun get the track in the first place?
Yes it has been amazing how well received the track has been, considering that I feel it sounds very different to what else is around right now. Solomun was sent the track december 2014 and since that point he has played it heavily in the majority of his sets over the last 6 months. The support he has shown to my work has been incredible.

The name for the track is pretty unique. Could you tell us about how you made it, and where the name comes from?
The track was made days after someone very close to me passed away, and this track was a celebration and tribute to the life and the impact this person had on me. This is why the track possesses in it so much feeling. I think many in their own way could relate to the emotion the track brings. Why I decided to call the track like this is something I can’t share now, but maybe one day.

Have you had a chance to meet much of the Diynamic family? What are they all like?
Funnily enough I have seen Solomun DJ many times, long before i signed my track to diynamic. His sets are always something to behold.

For those of our readers who are less familiar with your other music, what two songs should they listen to and why?
I had a recent track out on exploited ghetto titled ‘Forget You‘. This was also heavily played by Solomun this year and is worth checking it. Its a real crowd pleaser when dropped in a club.

My 2nd track would have to be a new remix i just finished for pete tongs FFRR records. Its a remix of a Icarus track and It just got its debut on bbc radio 1. It is something i am very excited about and cant wait for the release.

What has your experience with Exploited been like?
Working with Exploited has been a very worthwhile experience. They work very professionally and really do take care of you. This is something very important to me when working with labels. You got to feel like you are part of a family.

What are your top 5 tracks of the summer?
1 – Mind Against – Vertere
2 – Lui Bei – Atlas world (solomun mix)
3 – MUUI – Elsa
4 – Stephan Bodzin – ZULU
5 – &ME – Woods

What other releases do you have in store for the rest of the year?
I have many things coming out over the next few months

Icarus – Dont Cry Wolf (SevenDoors mix) FFRR / Warner
Adana Twins – Heroe (SevenDoors Mix) Exploited
SevenDoors – Otec – Exploited

The rest I will attempt to keep a secret for now 🙂

Thanks so much for taking the time to chat with us. We can’t wait to hear what else you have in store. ‘Movement of Whale’ is out NOW on Diynamic.

INTERVIEW: Barbuto’s Arcana EP is out April 6th on Octopus Recordings

1.DSC_0354

We had a chance to interview techno producer Barbuto before his debut EP release ‘Arcana’ on Sian’s legendary Octopus Records. We’ve had our eyes on Barbuto ever since the release of his track ‘Major Arcana.’ Plus, it’s always great to see new talent from underrepresented parts of the states.

Could you tell us a little bit about yourself? Where are you from, what do you do for fun, and how long have you been making music for?
I’m originally from Australia but I moved here when I was just 8. I moved back to Australia when I was 12 then winded up back here in the USA when I was 21 after spending 5 years racing bicycles around Europe. I’m thinking about techno all the time, either musically or the business side. I like to make music in the morning then once I can’t go any longer I switch to promoting upcoming local events, blogging and business stuff. I DJ locally between 2 and 3 nights per week, so I stay busy. This to me is super fun and could not do anything else! Aside from music fun I like to simply hang out at home. I live with my girlfriend in a 36ft travel RV in the gorgeous Texas Hill Country outside of Austin. We are surrounded by wildlife and beautiful nature so just hanging out and going for hikes and bike rides is my thing, and eating Texas BBQ

As a US based blog trying to promote Techno in the states, it’s really cool that you hail from somewhere that is rarely thought of as a Techno hotspot. What’s the scene like in Austin?
It’s very special here in Austin. We only have around 850k people in the entire greater area so Austin is a very small city compared to big techno cities like New York. The difference is Austin is a passionate music town full of artists; people have pretty open minds here and are up for a high calibre performance regardless of music genre. Techno is growing fast though, over the last few years it’s really caught on. Lately I have been having at least one or two nights per month and the club I throw events at Kingdom is always slammed. The club is a DJ owned and operated venue and the DJ who built it (with his own bare hands) Garrett Boyd aka Remmington Steele is a very talented techno DJ who plays frequently so when Octopus or Drumcode DJ’s come through the events are taken very seriously and passionately by the staff and the DJ’s can feel that intensity. Our crowds are very enthusiastic too. I’m always posting pictures of dancers literally losing their minds. The sound at Kingdom is perfect.

We know that making music can be a tricky career, especially if you are fairly new to producing. What do you do to make ends meet? And do you have any words of advice to those who are struggling to find the balance between music as an art form and music as pure entertainment?
When I moved to Austin 6 years ago I was sick of the daily grind and having bosses to answer to so I decided I am going to DJ to pay my bills no matter what. If I get to play techno great but if I have to play top 40 I will do that over having to be at work Monday morning so I started to DJ any type of gig I could find, from Sushi bars to Corporate parties and weddings. After about a year I had so many of these I was actually making pretty decent money. I still do these often and I quite enjoy it. I personally feel DJ’ing weddings and mainstream events is what has caused me to be confident during my techno sets as well as confident as a person, the pressure of a wedding is so high, it really makes you tough. If you are being pulled between what your inner morals want you to make or be and what is going to be successful or what you can sell, I would say focus on making music that people are going to respond to but let your gut tell you that you are still within the boundaries of your inner you. 6 years ago after deciding to DJ full time I was 100% techno at heart but only 10 or 15% expressed when playing or promoting events. 4 years ago it went to 25% 75%, and now its nearly 100% techno all the time. On a Saturday I might DJ an early party with some pop and funk but 4 hours later I’m playing techno at Kingdom. As time goes by I’m sure everything will be techno 100% of the time!

So your ‘Arcana’ EP comes out soon on Octopus, which is a pretty big deal. How long have those two tracks been in the making, and what’s the story behind them?
Sian’s ears had been open to what I was up to for about the last year. He had mentioned that when my sound fell into place that there would be a home for an EP on Octopus so I really started to buckle down and get serious. I did lots of tracks that went back and forth with the objective of coming up with an EP. These two just kept lingering for a while and after a little bit of random polishing and playing out they just stared working and they came together. Right now I start tracks with an open mind and do tons of experimenting. I love plugins and messing with stuff randomly. The thing I try to keep in my head and ask myself as it’s going along is “does it sound dark and does it sound classy and is there a catchy riff”?

Now, this isn’t your first Octopus release, right? How did you get connected with the label? Have you met Sian?
I had a really fun single come out on the 2014 Octopus compilation called “Major Arcana” (not connected to the Arcana EP, I name my tracks based on star systems and galactic council stuff, its very methodical actually lol). Anyway I play this track all the time and it always gets a strong response. My buddy Jon Eric and I wanted to bring Sian to Austin to play Kingdom so we had him the day after Christmas in 2013 and we had a great show. After that we stayed in touch and since then we have done a few parties together including a label night he had me play in LA last December and we just closed down music week here in Austin during the SXSW 2 nights ago.

We love asking artists a silly one. TR-909 or TB-303?
I wish I could say I owned them both but I don’t own either however I would probably go for the 909

What’s your favorite YouTube video?
Carl Cox 24/7 full documentary, it’s very inspiring!

What tracks are you listening to at the moment that you think are going to blow up?
Major Arcana & Twilight Imperium that come out on Octopus the first week of April hehe!

What’s in store for the rest of 2015?
Really excited to be on the Octopus label night at Treehouse with Sian and Boryana with special guests Gaiser & Drumcell, beside that we want to start an Octopus artist night at Kingdom to get as many Octopus artists through Austin as possible this year. Other than that I look forward to spending as much time in the studio as possible. It’s alot of fun!

Thanks Barbuto! Look forward to seeing you out there on the dancefloor sometime soon.

Barbuto’s debut ‘Arcana’ EP is out Monday April 6th on Octopus Recordings. You can read our review here.

Interview with Techno Producer Etai Tarazi

For those of you familiar with the infamous track from this summer “Ready or Not,” you’re in for a treat. We had a chance to sit down with Israeli born and NYC based techno producer Etai Tarazi. We chatted with him about his incredible summer, and most importantly, his forthcoming ‘Escape’ EP on Sian’s Octopus records, out very very soon. Enjoy!

A few months ago, you released an EP on Octopus Records (which is a great release, by the way), and you’re about to drop a new EP on the label (as well as another track, by the sound of it). How did you meet Sian, and how did the first release come about?
Sian was a huge supporter of my mood release; he loved my “No No No” track. He also reached out to me, inquiring about a track with a similar vibe.

‘Ready or Not’ must have been played by every major DJ in the past couple of months. Did you expect the massive success of your Octopus Release, or did it come as a surprise?
Everytime I see or hear of a massive artist supporting my music, it hits me as a huge surprise. I always prepare for the worst and always hope for the best!

What is your dream gig? Would you like to play a big festival like Awakenings, or would you prefer to keep playing where you do now?
It has always been an absolute dream of mine to spin at a huge festival such as, Awakening or Tomorrowland etc. The rush I would get from a crowd of that size would be indescribable. However, I love the way I spin now because of the interaction I share with the crowd.

How did you get started as a producer?
I’m always looking for new avenues to push myself to the next level. One day it came over me that I needed to make my own track. Although it took me a little bit over a year of trial and error, I finally started to understand the science behind it and from there on out it became natural.

What is your process for producing tracks? Do you like to write one at a time, or many at once?
When I sit in a studio and start a project I always finish it before moving on. If not I would obsess over it until the point that I couldn’t sleep! Before I finalize a track I imagine making thousands of people move on the dance floor. That inspiration is all I need.

If you had to produce another genre besides techno or house, what would you choose?
Definitely try dabbling in deep house. Recently Im a huge fan and enjoy opening up rooms rocking deep deep house! I think this genre is really going to take off in the near future.

When producing for a label like MOOD, do you take a different approach than that of your Octopus tracks?
In the beginning I did modify my sound to cater to the different labels. However, I quickly realized that it’s all about creating your own distinct sound that labels are going to come to you for. One’s sound is not going to gel with every single label but, if you stick to your roots, labels will come ringing.

What is one track you’ve heard recently that you really enjoy?
Reverse skydiving shadow child remix. I absolutely love this track! #banger

What are your plans for the rest of the year? Any new gigs or releases you’d like to mention?
Right now there are some serious productions in the works, as well as some amazing bookings. As for details my lips are sealed, all I can say is stay tuned, 2015 is my year 🙂

Finally, if you could choose to collaborate with anyone, who would it be?
There’s so many like Gary beck, Adam beyer, sian etc. but if I had to choice one I absolutely adore nicole Moudaber. I love her sound and I think the both of us simultaneously on a track, would rattle some cages!

Etai’s newest EP ‘Escape’ is out now on Sian’s Octopus Records. Previews below!


Interview with Pulshar Ahead of Their Desolat LP ‘Blood and Mathematics’

We had a chance to sit down with Barcelona duo Pulshar (Sergio S. Vidal and Pablo Bolivar) prior to the release of their next LP ‘Blood and Mathematics’ on infamous label Desolat. Following up their success with ‘Inside’ and ‘Different Drum,’ based upon the previews we think this one is the best! We can’t post them yet, but as soon as the clips are up, we’ll share them here. For now, enjoy the anticipation with this interview!

How would you describe Pulshar’s concept and sound in two sentences or less?
We would say it’s cinematic music with a dark, hypnotic and sexy touch.

So let’s talk a little bit about Blood and Mathematics. How did the LP come to be? What was the most difficult track to produce on the LP? Did you know from the start you wanted to target Desolat for the release?
Mostly started when we made “Better than Tears”. With that track we found a new “door” to enter in. A production that was naked, simple, deep and fresh at same time. We wanted to continue that way and develop it. Then came “Prepare”, which is like its “twin”. This time around we are more into electro sounds. Also, we have more machines now–some from the 80s–and we guess you can feel it in the album.
The good thing about these tracks are that they are mostly born by themselves. We didn’t force them at all. We decided that if one track takes a lot of time and effort to “fix,” it’s because we don’t like it in some way. So we stopped and went to another. We took some time to finish “Nadie te quiere Ya”, but just in the small details. Maybe it was because it’s the first song we’ve done in spanish and we placed special attention on it. Also, “On A Mission” took its time, because we found a lot of possibilities with it–that’s why the instrumental version is the only one on the album that differs the most from its original.
We don’t think about the record label when we make an album..maybe if we released an EP it would be different. For us, the idea of the unity of an album is something beyond the label. When we make an album, its like : “Take it or leave it, but it is what it is”. Desolat has always respected that.

We really loved the flow of the whole album. How long did it take you to get the tracks ordered as they are?
We really like this question because we spent a lot of time to doing it. Sometimes we went crazy because we made so many small changes. Sometimes we weren’t happy with the order, so we couldn’t rest. We listened to the album hundred times and reordered. The key for us is: when you press play and 40 minutes later you say: “is it finished? i dig it like butter”.

The release is interesting because it is released with and without vocals. What made you decide to structure the release this way? Do you think this kind of style is becoming a trend?
The idea was in our minds some time ago, because it relates to the roots of dub in jamaica, vocal and dub version on the 12 “ for the soundsystems. One day we were playing the album in Guti´s studio and he just told us “You just HAVE TO release an instrumental version, I just need it!”. We thought it would be interesting because in that way you can listen to it in different ways. Also, the instrumentals can easily put you in an “ambient” mood and perhaps is more appropriate for those that don’t like vocals in their sessions (laughs). We took the opportunity to do small changes for the instrumentals. And we thought that since it had been so long since we’d released an album, it’d be a good way to give more to the listeners.

Loco Dice and Martin Buttrich are fairly infamous to some of our readers. What is it like to work with them? Do they have much say/control over releases? What kind of role do they take in A&R?
Working with them doesn’t feel like “work” at all. It’s just a question of mutual respect and little talking. We don’t know how they work with the rest of releases, but with Pulshar it’s just simple: we have music, they like it and want to release. Then we talk about formats, promotional stuff, dates …and go.

One of our favorite tracks from the release is “Prepare.” We found it an incredibly fitting opening. How did this one come to be?
We had 2 favorites for the opening, “Prepare” and “Better than Tears”. “Prepare” is obviously the first one because of the lyrics: prepare for the thing that’s coming, and it also contains some of the ingredients we talked about before. It’s an apparently simple structure, and deep emotions, properly continue throughout the album. On the vinyl edition, in which you have to change the side after 20 min, we decided to start with “Better than Tears”. Call us maniacs if you want 🙂

We always are fascinated with electronic musicians who release full length albums instead of individual singles. Can you describe to us your ideal performance of this whole piece – what would the setup look like, what kind of instruments would you have at your disposal? Would you play the album back to back as it is structured or would you inject other tracks or sounds?
Well, we are electronic producers, or electronic composers, or whatever you wanna call it. But we feel Pulshar is a band, in the classic sense of music. We think that the best way to show the concept of our music is an album. It works like a book or movie. EPs are like short films, for example..are a fast way to show the world what you are doing in that precise moment, like the singles. It’s cool because you can say “HI, I’m here, I’m doing things”. We have that temptation sometimes, but Pulshar is mainly an album band.
For sure we will change the order, we will extend some tracks, maybe we will put more BPMs on others. We always inject new sounds and arrangements live…we loop some voices in a different way than the album. Also, we use an electronic drum to push the track sometimes. We would love to use a real bass player and maybe a drummer someday too.

What’s in store for the rest of 2014? Any plans for an album tour?
We are working on it.

Finally, any fresh promos that you’re really excited about that we should keep our eyes open for?
You should buy the vinyl edition at Desolat.com because the promo bag is really nice and it’s only for the first 100 copies!
Also you can listen tp our last Echo Chamber Vol 7, already online here: http://www.soundwall.it/sntls/it/#pls-mix

Thanks so much for chatting with us!

‘Blood and Mathematics’ is out on Desolat on October 20.

Interview with Anjunadeep’s Martin Roth

artworks-000090158550-lgk29s-t500x500
Anjunadeep, the Deep House / Deep Tech label of trance trio Above & Beyond, has been releasing some of the most forward looking music since it’s first release all the way back in 2005. Ever since then, the label’s Deep compilations always sit happily in the Itunes #1 spot for many weeks. In 2014 in particular, both emerging artists and established Anjunadeep family members have and continue to release incredible music. Martin Roth, known for his tracks ‘Beautiful Life,’ ‘Suite 909,’ and numerous remixes, is due to release his next EP for the label ‘Mel’ / ‘Maya’ this coming Monday. It’s been quite a while since we’ve heard his originals on Anjunadeep, so we were thrilled to get a chance to ask him a few questions!

We want to open by stressing just how obsessed we still are with your 2012 track ‘Beautiful Life.’ Any advice on how emerging producers can make such powerful music?

Thank you very much … still after 2 years it is great to hear that. An advice which is coming right to my head especially in this case is not thinking too much, simply do … overthinking is the worst enemy, also in writing music and even if I know this for many years, I am still struggling to finish something before I think too much. In the case of “Beautiful Life“ I wrote the track in 2 days and if this is not enough, remember it was 4am in the morning when I was finished and I wasn’t tired so I played with some things I had worked on the week before, and 4-5 hours later, „Make love to me Baby“ (the B-Side) was finished. So I simply was riding on a wave of good vibes and was very into everything, not questioning much and simply finishing something I started.
The process of writing music is always the same – especially in electronic music – playing in the studio for a few hours until the moment of a “flow“ is emerging – then everything you do is the right thing and yo enjoy writing actually. But the minutes and hours before are the hardest – I could have stopped at 9pm the night before and could have gone to bed but I went through this and in the night I achieved something.
So I could tell you many things about technique and stuff which is mainly simply coming from experience but for me the even more important thing nowadays is motivation, less overthinking and developing a good vibe.

You’ve been involved with Anjunadeep for a long time now. In your mind, how has the direction and sound of the label changed over the years?

Actually I think Anjunadeep was and is staying true to themselves and their roots. They developed a special kind of sound which in 2014 really sounds like “Anjunadeep” and nothing else. I was trying over the years to pull them a bit into this or that direction with some productions I did and styles I liked but they kept being still a good fusion of the more classic progressive, the posh NuDisco, the Deep House as the name is suggesting and a good portion of some British UK-Garage.

So let’s talk a little about your about soon to be released EP for Deep, ‘Maya’ / ‘Mel.’ How did these two tracks come together and what’s the origin of the names?

After the Plexish-NuDisco of 2012 I became last and this year a fan of the more darker sounds more rooted in my history when I went clubbing of more technoish deeper tech sounds with a melodic edge. The last releases of David August, Lake People and the likes were an inspiration and when Martin Roth is feeling good in this area, track like the above mentioned are coming out after a few weeks of working in the studio. “Mel” is my favorite of the pack due to the melodic dark feel and less dominant drumming whereas “Maya” is more focused on more pumpier percussive elements with additional atmospheric vibes.
The Origin of the names is quite easy – Maya is our cute lovely 2 year old Chocolate Labrador and Mel is my wife. So two predominant elements of the last two years as well.

Speaking of the release, we were thrilled to see remixes from two relatively new producers, Peter Pardeike and Whomi. How did you get these two to remix your tracks? What are they like?

Whomi is a super talented still young italian producer which productions I was playing lately a lot. I think we will hear from him a lot in the future – he has a distinctive deep sound and he did an amazing job I think.

Same like Pete Pardeike did with his take on “Maya.” I was a huge fan of his Innervisions EP with Marcus Worgull “Lenoix” and he did exactly what we expected – putting his sophisticated IV vibe onto the track. You need to listen to his remix maybe several times first in my opinion but then you are becoming crazy for it.

We really loved your Deep takeover a few weeks ago. Can you walk us through how you put that mix together?

It is actually simply a mirror of what I am playing currently in my sets. I prefer longer sets so I am starting a little slower ending more techno later usually and this is simply that put into 60 minutes.

So what’s in store for the rest of 2014? Any plans for a US tour or other releases in the pipeline?

Good that you ask – I will be in the US & Canada in the last week of October for two long weekends. The finally confirmed gigs I will post asap on my website and the social networks. The current EP is not the only thing which is still coming this year so there are two Remixes one for Sudbeat and another one coming out on just vinyl on a new label I cannot say much so far now but the mix is insane. On the original side I’d say watch out for it … there’s ANOTHER Anjunadeep release scheduled and another one on a well know House Label as well.

Before we go, we always love to ask – are there any fresh promos you’ve heard recently that you are really excited about?

A track which I love now for month which will be out very soon is the new Daniel Bortz & Sascha Sibler – “Tomorrow we’ll start a new life again” as well as AMEs interpretation on “L’esperanza” of Sven Väth on Cocoon Rec.

Thanks for your time!

Martin Roth’s newest EP ‘Mel’ / ‘Maya’ is out September 15 on Anjunadeep.

Interview with Kyle Geiger and Hans Bouffmyhre Celebrating Their New EP

Kyle Geiger and Hans Bouffmyhre are out soon with their newest collaborative effort ‘Heavy Handed’ via Unrilis records. We had a chance to sit down with the two producers to see what’s new and chat a bit more about the EP itself. Enjoy!

Hi Hans and Kyle. First off, thanks so much for taking the time to sit down with us ahead of your next collaborative release on Unrilis.

How did you guys first meet, and how did your 2013 EP ‘Your Turn’ come about?

Kyle: Hans and I first met in Chicago at a Perc Trax night. I’ve known Ali (Perc) for years and so when I came up to Chicago to hang with him, I met Hans. I sent him some tracks right after we met that ended up on Sleaze, and then we kicked around ideas of doing a collaboration. Sometimes collaborations sound better in theory than in practice, but Hans and I have really clicked with our system of working.

Hans: Yes as Kyle already mentioned, we met in Chicago while I was on a small US tour with Gary Beck & Ali Wells (Perc). I remember that being a very funny, alcohol fueled night! The collaboration process between us was easy and I think our styles have compilmented each other well.

What have you guys been up to this summer?

Kyle: World Cup madness! I wish I could say something like “I finished 12 new EP’s all coming out in the next year and traveled the world on my private jet tour,” but in reality…between gigs, I didn’t do anything other than watch every match of the World Cup. I’m not even sure if I returned emails or phone calls during this time.

Hans: Aside from watching football, i’ve spent a lot of time enjoying the sunshine with friends. I went over to Ibiza for a few days in August for one of my friends stag weekends, which was mental! I’ve also played a few cool gigs at home in Scotland, which has been nice.

We’d love to have a little bit more insight into ‘Heavy Handed.’ How long has it been in the works? How was the recording process different from last time? And how did the EP end up signed to Unrilis?

Kyle: Hans and I have a pretty efficient system. One of us starts the track, and the other one finishes it. The only change in process between tracks is who started it versus who finished it. That process takes a lot of trust, which is why it would only work with certain people that you likely have a friendship with as well. Collabs fall apart a lot of times when both people are in the studio, with one person in control, and the other person micro managing everything that the other person does. So all in all, I like Hans and I’s way of working together much more.

Hans: After the success of ‘Your Turn’ we decided to have another go at a second collab project. This one has maybe taken us a bit longer to get ready, but I’m definitely happy with the final outcome. I sent the EP to Luigi, who had been waiting for some tracks from both of us, so it seemed like a good idea!

Speaking of Unrilis, what is Mario like? We’ve all heard great things here at Side of Groove!

Kyle: This is probably a really disappointing answer, but we’ve only talked via email. He’s very patient and kind with our sometimes slower than normal responses though!

Hans: Yes Mario seems very professional and organised. Seems to be running things well and i’m happy to be working with Unrilis.

Hans, your remix of Locomatica has been on fire this summer, and we’ve been hearing it everywhere. What was it like working on this one? Did you know it was going to be so successful?

Hans: Yes I noticed this remix has been getting a lot of attention and support. It was a very quick remix for me and I think I used the parts well. I managed to finish the track in just a couple of hours and every time I play it, there’s a great reaction!

Kyle, we always love to meet US born producers who are making music in the techno world (we are from Boston and Chicago). What is it like living and working in Germany? Do you ever feel out of place?

Kyle: I think it’s a really good experience to live abroad. Depending on your age and background, it will be beneficial for different reasons perhaps. For example, I was 31 when we moved here, and that’s approaching the age where you start to get mildly stubborn and set in your ways. The older you get, the less you bend. I don’t want to become that person, so moving to Germany really shook things up in a good way for me. It forced me to not have things MY way, which is a great exercise. At first you have the tendency to deal with things by complaining, as though that will change hundreds of years of culture to accommodate to my pity party. Then you start realizing that the only thing you can change about your experience is the way you view things, as well as your flexibility. If you’re a little kid living in say, Germany…before long, you don’t even know if you’re more German or American. For me, I will always be completely American, but I certainly have gained a great appreciation for other cultures, as well as becoming more adaptable. Before I moved here, I was thinking, like “I’ve traveled all over the world, I LOVE other cultures.” And let me tell you, that’s one of the easiest badges of honor to wear when you’re VISITING other cultures…but much like relationships, the little quirks about a culture that made your initial encounter so fun, unique, and interesting, begin to wear on you when you’re living with them every day. Of course I feel out of place at times, but I think I felt that living in Indiana as well. I love both places, and I have to be honest, I think that after two years of living in Germany, the quality of life for the average person is significantly better here in Germany than in the US. I love America, and will always be American. But when you step back and look at things like vacation times, maternity leave, health care, ability to eat healthy and not be broke, affordable higher education (270 euro a semester at Humbolt or any other state funded university, which includes a city wide transportation pass for the duration of your enrollment. Compare that to a state school, like my alma mater (Purdue), which costs 5000 USD a semester), public transportation, private transportation, and overall a broader appreciation for culture and art, I think I would have no problem living in Germany forever if my roots and family weren’t so deeply planted in the US. Given, I grew up in a small-midsize city in the middle of the US, and I’m living in the capital city of Germany…one of the biggest cities in all of Europe in fact. So it’s not really a fair comparison in all those categories, but I think it’s fair to compare all things that are federally controlled and ask my country why they’re fighting so hard against these things? After all that stuff, Germany is less in debt, has steady and continuous, albeit slow economic growth, and still finds a way to create a healthier work/life balance than the US.

Kyle, we also heard you had a great set at Berghain earlier this month. We’ve never been but it is very high on our list. What was so powerful about the set? Which one track stands out in your head from that night?

Kyle: I’m glad to hear that people said nice things about it! Berghain is a special place that will never be duplicated despite the countless efforts to do so. I think a big factor in my set being well received, is that I’ve started having a lot of fun DJing again. I tend to get bored easily, so I’m constantly changing my DJ setup and trying new things. I recently have started using CDJ’s + Guitar pedals/foot controllers for effects, plus my Cycloops that I resurrected for looping and layering on the fly. My laptop stays at home! I think there is no software better than Traktor for DJing, but I was really missing the physicality of it all. I could care less about beat matching or the age old sync button debate…as that wasn’t what the switch or what DJing is about for me. I wanted to have a more hands on, physical experience, which is allowed through the CDJ’s more so than controllers. I’m sure I’ll get bored again at some point and need to see change, but for now I’m having a great time! I tested out a lot of my own productions throughout the night and was quite pleased with the response they got, so you’ll be seeing those slowly come out over the next year on my labels Cubera and Cuda.

What does the rest of 2014 have in store for you?

Kyle: I had too much fun this summer, so now it’s time to lower my head and get busy again in the studio! I’m also ramping up the tempo for my labels’ release schedules, so that is enough to keep me busy!

Hans: It’s looking like a busy end to the year for me in terms of gigs, releases & podcast mixes. I have two new Secluded projects coming out on Soma Records & Sleaze Records, including remixes by Truncate, Woo York & Subjected. Two new Hans Bouffmyhre records after this. One on Bek Audio and one on Sleaze Records with a remix by Developer. So there’s plenty happening!

Thanks for taking the time to chat with us! Hope to see you on the road soon.

The ‘Heavy Handed‘ EP is out October 20 on Unrilis.

Interview with producer Rich Pinder

Today we have another fantastic interview for you guys. We sat down with producer Rich Pinder, responsible for the track ‘Lost Soul‘ alongside Billy Kenny that we raved about a few months back.

Our readers would love to get to know you a little bit better. Where are you from, when did you start producing, and what’s your favorite track you’ve made so far?

Im from Doncaster South Yorkshire, I took an interest in music production about 5 years ago and only in the last 2 years or so have i been more serious about it. My favorite track so far would have to be between ‘NO NO NO” or Nothing although i do have a couple of nice unreleased bits.

What has been your favorite gig so far in 2014?

My Favorite gig this year…..erm there has been so many and i have worked with some great promoters/brands this year but the one that stands out the most for me has to be S2S Festival @ Bowlers Manchester, crowd there was awesome.

We’ve been really impressed with not only your original tracks, but also with your collabs with Billy Kenny. How did you meet up with him? What’s it like when you are in the studio together?

Thanks, Me and Billy met about 4 years ago when we had our first studio session. I’ve learnt a lot from Billy, sessions are always good as we share a similar taste in music and bounce off each other well.

Speaking of Billy Kenny, your collaboration ‘Wondering’ is coming out soon on BlocBeatz. How did this track come to be and how did you get hooked up with BlocBeatz?

Blocbeatz actually contacted me regarding my collab with Chris Gresswell ‘Back’ and then spotted ‘Wondering’ so given the sound of these to tracks it seemed the right the label to go with given there previous releases.

What’s in store for the rest of the year?

2014 so far for me has been a great year having some great release on some wicked labels, I’ve played some great events all over the UK and in June i went out to Austria to play a rooftop party in the Austrian Alps. I’ve got some great things lined up for the next few months, collaborations, remixes and original tracks working with the talented Chrystal (RogueHeart) who I’ve work with previously. Im playing in Holland for the PUUR Festival alongside Hector Couto & Josh Butler, Malia in August for INSOMNIA in the sun with Sleepin’ is cheating’ then over to Hanover in Germany for This Ain’t Bristol as well as all my UK dates.

Now for a kind of fun one. If you weren’t making music, what would you do for a living?

Funny you should ask this haha, i actually work in the day for a local company specialising in crash repair parts for cars.

What are your favorite tracks at the moment?

I have so many lol, I really like Josh Butlers stuff also Jamie George x Tom Shorterz – Wot You Do, i could go on for ages here but those stand out for me at the moment haha.

We’ll be supporting ‘Wondering’ and ‘Back’ as they release soon on Blocbeatz!