Jump to content
×
  • Can you help us?

    If you have some serious passion for your local scene, and are interested in helping us build Australia's newest electronic music community, hit on the Apply Now button below to become an Ozclubbers contributor!

    Apply Now

     

  • Sign in to follow this  

    Is Misanthrop the Frank Sinatra of Drum and Bass? The Former Neuro Stalwart Talks About His ‘Blurred’ EP and How He Did it “My Way”


    Guest

    Since his game-changing self-titled LP in late 2016, Misanthrop has been on the quiet side in terms of releases. In addition to Misanthrop, he and his Neosignal partner Phace blew the neurofunk scene away in 2014 and 2015 with some of the hottest and most unique tracks of the new decade but 2017 saw Misanthrop taking a breather from production – or so we thought. October 27 saw Misanthrop, given name Michael Bräuninger, release a new EP called Blurred and fans can expect the unexpected, to say the least.

    Misanthrop sat down recently with Your EDM to discuss the new EP, the current neurofunk climate and how he feels it’s important for artists not to worry about genre or what the drum and bass community expect of them. Most importantly, Blurred is a declaration of artistic and sound design independence and Bräuninger’s renewed commitment after Misanthrop to make music “his way.”

    So was this your first EPs in your new studio? Some of us have been following your photos on Instagram and it looks really great.

    No, I did the new EP on my laptop because they studio wasn’t ready at the time. It’s finally done now. I have been dreaming about doing this since I’ve been making music. I just have a few little things like a second door to put in but it’s so exciting to finally have dedicated space.

    It looks great with all the sound boxes and stuff. Now you can go as loud as you want!

    (Laughs) Well 90 percent of the time it’s not too loud because I don’t want to oversaturate the sound. Besides it’s not good for my ears.

    So the Blurred EP is now out as of this past Friday, October 27 and it’s quite different from anything you’ve done before. What was your general process or motivation for doing something so out of your box?

    Yeah I know it seemed very different, but after the album (“Misanthrop” self-titled, released in late 2016)…you know all those songs were songs I really liked. I mean of course I liked them but when you make an album like that you spend so much time with the songs and then I played them out as well. It got to a point where I just wanted to take a next step and make some tracks that were new and that I liked in a different way. That is why for the EP I just wanted to experiment and do something different.

    You felt you wanted to swing the pendulum to the other side now?

    Yes, sort of. There are definitely things in the EP where there’s still a style or some things I took from the album (last year) that I liked but I sort of wanted to experiment more. I have so many experimental stems and things on my hard drive but many of them I just haven’t taken the time to work on and make good enough. That was part of why I did this EP; to take those things out and play with them, apply stuff I learned from the album to see if I can make it so I like them. And now I do! And I think they’ve been getting a good reaction as well when I play them out.

    Well that explains tracks like “The Lick.” As soon as the album opens, listeners will know it’s going to be very different.

    (Laughs) yeah that’s good! I don’t want to keep doing the same thing and I don’t want to put myself or let other people put me in a box and say “he’s neurofunk,” you know? I think I can do anything I want creatively and I hope that when people listen to this EP they recognize that. People should realize that with any artist I think.

    So let’s go through each track on the EP. On “The Lick,” is jazz something you’re really passionate about?

    No, not really in the sense that I felt I had to do a jazzy track. I like Miles Davis and sort of jazz fusion, but I haven’t really listened to it for 15 years or more and I’m not really into it now but it really was just I knew I had that little piece (of the opening of “The Lick”) on my hard drive and I wanted to see if there was something I could do with it. It was a small inspiration I suppose and then one thing led to another and it was suddenly a track, you know? It really was just me playing around with things to see how I could maybe combine a jazzy intro and drum and bass. It wasn’t a plan. I just did it the way I wanted and I did it my way.

    Is that normally how you operate? More on inspiration than a specific plan?

    That’s definitely how it happened with this EP. Sometimes I do have a plan or how I want something to sound but I’d say 90 percent of the time I just have a little idea or a spark of something and then my writing is how I make that idea work and so again it’s an experiment. With the Blurred EP it was the ideas I got from my own hard drive (laughs). I love the idea of building something from nothing.

    Moving to the second track, “Random”; it sounds more like what people might think of as your style. It sounds like it could have gone on the Misanthrop album last year. How did that one come together?

    Yeah I started that track pretty much right after the album released. I just had that riff in my head and the sound I wanted. That’s an example of something I already sort of had planned out. I had a rough idea so I put it down right away but again I let it sit for a while. I didn’t pick it up again and start working on it until about five months later when I was going through the process of doing this EP. Once I picked it up again I finished it in three days.

    Wow that’s quick, especially for something so technically complicated. What about “Short Stop”? That seems like another one which was more recognizable in the face of your previous work.

    Actually to me it pretty much came from the same ballpark as “Blurred.” I wanted it to have a kind of rolling vibe with still a very good structure. All I had with this one to start was the hook and the lead synth so then I think I built the main part and built it up until it had the structure I wanted. I think it’s a good lead-in to “Blurred” and it says everything it should.

    Speaking of “Blurred,” that track sounds quite experimental and it seems to be the one people are talking about the most, and critics are also saying it’s again very different from tracks in the past, but also one of the best. Talk us through the process of how you came up with that one.

    “Blurred” is the one I think I like the most as well. I spent quite a lot of time to arrange it. I had to figure out how to keep the intensity and the attention span of the listeners because it is so minimal musically. I spent a lot of time on arrangements. I’m quite proud about it because even I can still listen to it and I still like it (laughs)!

    I also think it was a natural progression from tunes I did before like “Deadlock” and the “Garbage Truck” remix (from Hybris) and even “I Need More,” I think it fits into that kind of stuff if you think about it. There is a vein of minimal techno in all of those tracks and there is definitely that vibe in “Blurred.” I don’t know if people notice it, but I actually listen to a lot of minimal techno. That’s the sound I really like to listen to myself so to me I’ve always been influenced by that style and it shows up in my work a lot. “Blurred” really felt like the next logical step for me. In that way it sort of reminds me of the Camo and Krooked album (“Mosaik” released June 2017)…it’s kind of in that ballpark so I also felt I wanted to give a nod to minimal techno and some other stuff but still make it for the dancefloor.

    How did you decide on the order of the tracks on the EP? It seems like there’s a musical progression there from “The Lick” to “Blurred.”

    You know I actually really wondered and worried about that. I wasn’t sure about putting “The Lick” as the lead track because to me “Blurred” would make more sense to open the album. I just thought to put it on the last place in the EP I guess just to see if people would pick it up all the way at the end, and then 90 percent of the people who I sent the EP out to said the same that “Blurred” is the one.

    I think also that “The Lick” moves nicely into “Random” and then “Short Stop” as I said before is a nice lead-in to “Blurred,” so it all worked out the way it was meant to be.

    How has it been to play “Blurred” out?

    To me, playing out lately at clubs or raves or whatever it just seems that everyone expects a certain sound and there’s nothing different anymore. It’s all good music of course, but going out with a track like “Blurred” sort of wakes people up. It’s been quite funny and cool for me to go up and play this because you see people’s reactions and they’re so great like “what’s that?” People don’t expect it. It really does work well. I just recently played “Blurred” as the last track of my set and of course with my sets I really go hard so to end with that it’s quite fun to see the reactions. I really like how that works at the end of the set.

    It will be really interesting to see what the public says when the EP comes out in full since it is such a departure, especially in the current climate where it seems subgenres are getting more divisive. This one kind of defies subgenres.

    My perspective on that is at the end of the day I just have to progress the way it makes sense for me. I know a lot of people in drum and bass like to look to the past and of course I love all that music from the 90s and 00s too but if I want to progress as an artist I just have to do what I feel and I can’t hold on to what already passed. If you do that and are constantly saying “oh everything was better back in the day” or something is “classic” and can never be improved upon, you start to sound like your parents talking about “the good old days.” I can’t do that. To me it’s stifling. I don’t want to repeat what I’ve already done so, you know, I hope people like it but now for me it’s more about if I like it and doing it my own way.

    Misanthrop’s Blurred EP is out now and available to stream and purchase on all major platforms, with links to all of them on the Neosignal website. Links to Misanthrop’s and all Neosignal artists’ social media, Soundcloud and updated news can also be found there.

    This article was first published on Your EDM.
    Source: Is Misanthrop the Frank Sinatra of Drum and Bass? The Former Neuro Stalwart Talks About His ‘Blurred’ EP and How He Did it “My Way”

    Source: Your EDM

    Sign in to follow this  


    User Feedback

    Recommended Comments

    There are no comments to display.



    Your content will need to be approved by a moderator

    Guest
    You are commenting as a guest. If you have an account, please sign in.
    Add a comment...

    ×   Pasted as rich text.   Paste as plain text instead

      Only 75 emoji are allowed.

    ×   Your link has been automatically embedded.   Display as a link instead

    ×   Your previous content has been restored.   Clear editor

    ×   You cannot paste images directly. Upload or insert images from URL.


  • We source our news and reviews from a number of sources.  From our local volunteer contributors (writers and reviewers) around Australia, to syndicated news sources including Your EDM, Dancing Astronaut, MixMag, By The Wavs, MNML, No Dough Music, Techno Kittens, Drum and Bass News, BBC, Junkee, and Trance Family.  Where the article has been sourced via syndication, you will find a link at the bottom of the article to the original source.

    Our local volunteer contributors are creative people who are passionate about the dance music and club scene in Australia and want to share their passion with others.  If you feel you fit into this category, we would love to hear from you!  Send us an application to become a contributor (writer / reviewer) by visiting https://ozclubbers.com.au/application

Add Your Event for FREE
Invite A Friend


  • Similar Content

    • AdamMadd
      By AdamMadd
      French producer Mathieu Koss has been carving a solid name for himself for a few years now. Having seen support early in his career from Sam Feldt, Robin Schulz, Lost Frequencies and Martin Garrix, it’s easy to see why his new single is tinged with some guilt-free summer spiced optimism. The Best Is Yet To Come is Mathieu’s new effort is another great example of his persistent pop house blend.
      Mathieu’s first release, Need Your Lovin, saw immediate global reach. Followed quickly by a deep house version of NJR’s classic I Need Your Love which gained massive DJ interest, later resulting in over 2 million streams. Mathieu is most known so far however for Big Jet Plane alongside fellow DJ, Alok. The soon to be infamous remake of Angus and Julia stones slur of a folk song was a huge world-wide success. Mathieu worked epic levels of euphoria into the track, that was equally met with exhilarating force of music genius.

      Having always been a keen traveller, Mathieu is keen to use emotions conjured up by foreign voyages deep within his work. After being inspired by the uplifting attitude of some newly found Australian friends –Best Is Yet To Come was born. 
      This single was shaped specifically for Joan Alasta’s vocals, who might be recognised from her appearance in Big Jet Plane. Riding high in the mix, Joan plays her part proud.  always keen to draw from multiple influences, Joan refers frequently to the likes of Radiohead and more obscure and traditional Corsican songs. Joan’s constant search for diversity is magnified by Mathieu – both driving us forward with grace and the sheer force of positive thinking.
      Mathieu Koss – Best Is Yet To Come is available April 6th!
       
      Spotify: 
       
       

    • GALLEON
      By GALLEON
      GALLEON: So guys, thanks so much for sitting down with me to talk about all things Musika! Tell us about how you began working with each other and the name Yolanda Be Cool?
      YBC: Sure no worries, our pleasure. Matty used to DJ at a bar I used to bartend at. I used to take him tequila shots and talk his ear off about music and djaying. Before long I was buying records and we started playing back to back at clubs all over Sydney then Australia. Then naturally we started making mix tapes and bootlegs together, then before long we ended up doing official remixes then finally releasing our own original singles.
      The name comes from one of our favourite scenes from one of our favourite movies.. Pulp Fiction…   “Be Cool Honey Bunny” “Tell that bitch to be cool”.. YOLANDA BE COOL...
      GALLEON: On your new jam Musika, you feature the vocals of Kwanzaa Posse. Who are they and how did you get to colaborate with them.
      YBC: We are always on the hunt for killer tracks to sample. On one of our sample hunts we came across Kwanzaa Posse out of Africa and their tune Musika had an amazing vocal part that really stood out to us. So we got to work on a version and sent it to their publisher to approve. They loved it so much they were happy to be featured artists on the single. We were stoked.
      GALLEON: Looking to the hot remix package for Musika, you have chosen some wicked artists such as Babert, GotSome, Flash89 & Dateless to put their touch to the record. How did you choose these artists?
      YBC: We were so lucky with this remix package, it was a combination of the legends at Sweat It Out calling in a lot of favours and I think the track being unique and appealing to remix which allowed us to get such dope names on the package.
      GALLEON: You guys are heavily involved with the running of Sweat It Out. How did you become associated with one of the late Ajax's biggest ventures?
      YBC: We both idolised Ajax, and still think he is the best DJ ever. When Sydney didn’t have the lock out laws we used to finish work at 2:00am in the bar above then run down and watch Ajax and the Bang Gang play till 6:00am at their weekly party…. We did this for years and then Matt was woking at a record label helping Ajax put together his legendary mashed DJ mix compilations, they got chatting about starting their own label and after a few hot and sweaty laksa’s on hung over Mondays..  'Sweat It Out’  was born. 
      GALLEON: Your music has often featured vibes from Africa and Latin America, giving your records a great uplifting carnival feel. Are world music and other cultures a big influence for you?
      YBC: Most definitely and we don’t discriminate.  We have sampled tunes from Africa, Columbia, Italy, England and Camaroon to name a few countries. We love combing elements and sounds from exotic places and re-contextualising them in a way that makes sense for us and the dance floors we play to.
      GALLEON: What are your biggest 3 records right now.
      YBC: ahhh Our friend did an edit of Raingurl by Yaeji which is so dope… Fisher’s tune STOP IT always kills it. and of course Musika feat Kwanzaa Posse by us:)
      GALLEON: Tell us about the biggest gig you have ever played and why? 
      YBC: The biggest number of people was a free party for the King of Morocco. There was over 100,000 people there. But one of our personal favourite biggest gigs for us was the MTV party @ Amnesia in Ibiza with A-Trak and Armand Van Helden. That was sick
       
    • Nordic-By-Nature
      By Nordic-By-Nature
      An overcast Saturday afternoon in Brisbane’s West End set the scene for a huge collaboration by Junkyard Sessions, Rewind and Rukus as they joined forces to present us with the massive outdoor SpectraSoul (UK) Drum N Bass Day Rave.
      The Boundary Hotel provided a sweet layout with a good sized dance floor adjacent to the bar, a choice of two separate pool rooms, a decent chill zone and a smoking area from which you could still see and hear the Dj’s. The high ceilings and palm trees gave the event the outdoor feel and was perfect as rain threatened throughout the afternoon.
      As I arrived around 4pm the first thing that struck me was the crowd. This was my first DNB event and the punters were reminiscent of a doof crowd. I was greeted by a sea of dreadlocks, snapbacks and the smell of sweat and essential oils all at once.  The vibe was already huge with the dancefloor almost full as De La Haye and Kosha B played a back to back warm up set.
      De La Haye and Kosha D run the local DNB night Junkyard Sessions, which happens on the second Saturday of each month, and has been gracing the Brissie scene since 2009, with both also running their own events since the early 2000’s. To say that this event was something special for the Brisbane DNB scene would be an understatement as going on 250 people packed the venue.

      Headliner SpectraSoul played a truly memorable liquid set to a crowd full of smiles. What a vibe! The set was the mixture of DNB and electronic that I’d been told to expect of SpectraSoul and was the perfect way to ease into my first Drum and Bass experience. The track that absolutely sealed the deal and stole a lil’ piece of my techno heart?   A remix of “Say What” by SpectraSoul and How We Live. This track had that emotive crowd winning female vocal and then broke down into calm and melodic DnB that I couldn’t stop listening to for days after the event.
      To close the party Mikmac and Speechless stepped up and almost immediately the energy and pace increased. Heavy rollers, Classic bangers, Neurofunk and Jump up were the weapons of choice. It was the kind of high-energy set that literally had people dancing on the stage, calling for rewinds, and chanting "one more song" as the event came to a close. It's clear that this was the REWIND crew in action and that’s where they got their name from.
      All up it was a good venue, amazing tunes and one of the nicest vibes I’ve seen in the Brisbane scene. This event won’t be forgotten anytime soon by myself or any of the hundreds of dedicated DNB ravers that attended. A truly epic offering by Junkyard Sessions, Rewind and Rukus. For anyone new to Drum and Bass or yet to experience this genre in Brisbane, I urge you to check out their future offerings as soon as you can.
       
      Photo Credit: Russell King
       
    • Nordic-By-Nature
      By Nordic-By-Nature
      Every March, the spotlight shines on Miami.  The Winter Music Conference (WMC) & Miami Music Week is on now, followed by Ultra Music Festival (this year celebrating its 20th Anniversary – kicking off from tomorrow at 6am AEDT via livestream: ultramusicfestival.com Sat/Sun/Mon).  With the ‘who’s who’ of the Dance Music industry embarking on the Florida Beach Music Capital, it also features the annual ‘International Dance Music Awards’ (IDMAs in its 32nd Year).  This year’s winners included:
      Best Male Artist (Mainstream) – Armin van Buuren
      Best Male Artist (Underground) – Carl Cox
      Best Song – ‘More Than You Know’ – Axwell /\ Ingrosso
      Best Music Event – ‘A State of Trance’
      Best Label (USA) – ‘Ultra Music’
      Best Streaming Service – ‘Spotify’
      Best Female Artist (Mainstream) – NERVO
      Best Podcast / Radio Show – ‘A State of Trance’
      Best Music Festival – ‘ULTRA MUSIC FESTIVAL’
      Best Label (Global) – ARMADA
      And more…
       We in Australia are fortunate to host some of the biggest Artists, Events & Festivals from across the globe.  We recently were introduced to the ‘ULTRA Music Festival’ family (‘Road to Ultra’ held in Melbourne) which was a huge success and over the next few months, we’re super excited to host some of the biggest Artists in the scene!!
      Armin van Buuren is currently playing LIVE at ‘Armin & Friends Pool Party’ at the SLS Hotel – South Beach, Miami.  Next up is Australia’s MaRLo watch here: https://www.facebook.com/arminvanbuuren/videos/10155429810793316.
      Featuring:
      PURE 2018 - CARL COX, PACO OSUNA, NASTIA, FABIO NEURAL & ERIC POWELL
      TOUR DATES:
      Friday 20 April - Logan Campbell Centre, Auckland
      Saturday 21 April - Festival Hall, Melbourne
      Tuesday 24 April - Metro City, Perth (Anzac Day Eve)
      Friday 27 April - Family, Brisbane
      Saturday 28 April - Hordern Pavilion, Sydney
      Plus Locals: Sydney: Nick Reverse // Spektrum DJs // Wild Fox
      Melbourne: Josh Wain & Paul Lynch (Autosea) // Leighboy & Handsdown
      ISTORIA 2018 MELBOURNE - ARMIN VAN BUUREN, ØRJAN NILSEN, RUBEN DE RONDE, WILL ATKINSON 
      Friday 20th April, 2018 – Festival Hall – Melbourne
       A STATE OF TRANCE 850 SYDNEY - ARMIN VAN BUUREN, GAIA, MARLO, ØRJAN NILSEN, RUBEN DE RONDE, WILL ATKINSON
      Saturday 21st April, 2018 – Sydney Showground
      CARL COX AND ERIC POWELL'S MOBILE DISCO
      Saturday 19th May 2018 - ULU Cliffhouse, Bali
      (Many Aussies are travelling for this one)
      ABOVE & BEYOND ‘COMMON GROUND’ AUSTRALIAN TOUR DATES:
      Friday 8th June – Hisense Arena, Melbourne
      Saturday 9th June – Exhibition Halls, Sydney Showground
      WILD NIGHTS TOUR – CASCADA, DJ SASH!, DJ ALIGATOR, N-TRANCE, LOVE INC. (featuring vocalist Simone Denny)
      + Special Guests: Nick Skitz + MC Kidd Kaos
      Tour Dates:
      Friday 15 June – Eatons Hill Hotel, Brisbane
      Saturday 16 June – Big Top Luna Park, Sydney
      Thursday 21 June – HQ Complex, Adelaide
      Friday 22 June – Trak Lounge, Melbourne
      Saturday 23 June – Metro City, Perth
       
    • GALLEON
      By GALLEON
      In the lead up to their Australian tour and the release of their new album, Cut The Strings, Ozclubbers' @GALLEON chats with Booka Shade about their music, the album, and just life in general!

      We warmly welcome you both Arno & Walter back to Australia for your run of dates in March. You have frequented our shores regularly in the last 10 years. What is it that keeps bringing you back down under?
      Ever since we first came in 2007, we have found an enthusiastic and loyal fanbase who not only cherishes the classic tracks, but also embraces more recent songs such as LOVE INC .
      We played some of the biggest festivals such as big day out, future fest etc, but also enjoy the headline club shows, like Melbourne last weekend and the ones coming up in Brisbane, Auckland and Adelaide (during fringe festival) .
      As the new album is only coming out in a couple of weeks, we play a lot of unreleased album songs in Australia, and it´s great to see the reaction of the crowd.
      Your previous live shows have never disappointed and always left the listener wanting more. Can you let us in on a few secrets as to what we might experience this time around?
      I guess it´s not really a secret when I say that we simply LOVE performing on a stage. that´s what we are really good at (together with producing music I hope) .
      And on this tour, also because the sound of the album is more ´back to the club´, our setup is very condensed , we have all channels for synthesizers, effects, drums under control on stage, we can react quickly and can interact more spontaneously , which gives the set great energy .
       
      With your last album Galvany Street, you took a different approach to your previous albums, which included the use of more hardware and  featured various collaborations. Does Cut The Strings have any similarities to Galvany Street or have you gone back to a predominantly club approach?
      After our 2013 album EVE we had the feeling that we had said everything in terms of bass lines and riffs. we had the feeling we would only repeat ourselves if we continued in our ´usual´ way, and as artists, we definitely always want to progress, evolve, not repeat.
      Which sounds risky, because we have a career we could perhaps simply continue for years and years.
      But that would be too easy …. :-)
      So on GALVANY STREET, we made an unusual step and produced an album outside of the techno box, no techno 4/4 beats , no ´booka synth riffs´ , a lot of vocals, even pop song writing.
      Most of the vocal tracks are together with Craig Walker, former member of the UK band ARCHIVE. btw he´s got a new project coming up called THEM THERE.
      We also collaborated with Fritz Hilpert from KRAFTWERK on a Dolby atmos mix of the entire album which was released as Blu-ray disc and is part of the Box Set we released.
      We needed this time out to recharge our club batteries and indeed, we found new inspiration for club music !
      And now, with this new enthusiasm for the club, comes CUT THE STRINGS .
      After the galvany street the only guideline we had was that we wanna go back to more clubbier music and that we don‘t wanna work so crazy long on tracks as we did in the past.it should be more spontaneous and open minded.
       
      You have worked with Troels Abrahamsen (vocalist on Kolsch 'All That Matters') on your latest single and title track, Cut The Strings. How did you get to know Troels?
      We actually contacted him years ago, shortly after ´all that matters´, and recorded a first version of what would later become CUT THE STRINGS.
      But then the GALVANY STREET project came in between and we put the song aside for a while, and picked up work in the autumn of last year.
      One of the novelties of the album CUT THE STRINGS is that we worked much more spontaneous and finished the production process quicker.
      On previous albums we easily worked for 2, even 3 years on an album. Again, that´s something we wanted to change in 2018.
       
      With your latest live show, do you individually have specific functions within the show or do you collaborate on all aspects?
      The work spaces are clearly defined since we first started: Walter plays keyboards, vocoder, sequences, Arno plays the drums and whenever we play longer sets, he does a DJ part in the middle of the set.
       
      When writing Cut The Strings, did you find any tried and tested production techniques useful?
      We used some instruments that we didn‘t use for a long time ,  for example an old EMS vocoder which we bought from Ian Stanley a former member of the 80‘s group tears for fears.
      You can hear it on tyrell and of course EMS love.this little box has a very special sound.
       
      How much do you find your methods of producing music evolve with the vast amount of software and plugins available?
      Even if it is so easy nowadays to do a good sound with all the plug inns which are out there ,we‘re always looking for new sounds with a character which can help to improve the trademark sound of Booka Shade.
      Not easy but it‘s worth it.
      It‘s all about challenging yourself and not be stuck in a formula.
       
      How do you both remain resilient and at the top of your game while touring given the long hours and continual amount of work needing to be done to make your performances so memorable?
      We have a pretty good time management, considering we both have families and a lot of obligations aside of music. also, we live a rather healthy lifestyle lately, and it´s incredible how much you can get done in a day and how much more energy you can have even with little sleep.
       
      Looking into your back catalogue, you both have an extensive history as producers under various aliases and in several groups stretching back to the better part of 30 years. Would you ever consider reviving any of the older projects you both worked on together (for example Superstring)?
      Ha ha, you´re digging deep …… well not everything was gold , but having said that, most of the rights from the 90´s should have long fallen back to us, so you never know…. go listen to old demos and releases every now and then and then look for sounds and sequences on old hard drives. you can imagine, there are dozens of old computers and hard drives ...
       
      In the last few years you have set up Blaufield Music. Tell us a little about your label and its functions.
      We had founded the label Get Physical together with our friends M.A.N.D.Y. , DJ T. and Peter Hayo in the early 2000´s and left in 2008, so we needed a new outlet for our music. and every now and then we release songs from friends of ours, for example fellow berliner CHI THANH, who has produced a magnificent remix for Body Language btw).
      Could be that after the summer we´ll release a project of friends of ours from Melbourne.
       
      Within the music industry, you as individuals and collectively as Booka Shade are known for having a great reputation and being highly professional while always remaining humble. Are these qualities you would recommend any DJ, producer or musician should withhold in order to maintain longevity in the scene?
      Absolutely. most people who have been successful over a longer period of time (not just two summers) are very professional, work hard and stay grounded.
       
      Who would you say has inspired you the most musically over the last 30 years?
      Depeche mode, The Cure, New Order, Sven Vath
       
      Do you have any tips as to who is about to blow up in the next couple of years?
      ARTBAT from Ukraine are having a good run atm, look out for them.
       
      Finally, feel free to tell us a fun fact that we wouldn't know about Booka Shade.
      We love gardening in our free time.
       
       
       

       
      Album Pre-order:  https://sweatitout.lnk.to/CutTheStrings
       
      Booka Shade – Australian Tour Dates
      Friday 9th March: Pitch Music & Arts Festival, Mafeking Victoria
      Saturday 10th March: Days Like This, Victoria Park, Sydney
      Sunday 11th March: Prince Bandroom, Melbourne
      Friday 16th March: The Met, Brisbane
      Saturday 17th March: Powerstation, Auckland NZ
      Sunday 18th March: Royal Croquet Club, Adelaide Fringe Festival    
×

Important Information

By using this site, you agree to our Terms of Use. Privacy Policy, and Guidelines