aden
IsraTrance Full Member
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Posted : Jan 18, 2005 15:35
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11. Dado found the Colour album was making references to the 90’s Techno. Do you agree? Did you have specific producers in mind? Is this a part of the mixing of influences that makes up the style of Son Kite?
SEB: In the beginning of the 90’s Marcus was djing a lot of techno, trance and acid … this was the music that I listened a lot to when I was shaking my ass. We still listen a lot to this old records and since we like them very much we of course get influenced by it.
12. You are about to publish the fourth release of the Colour cycle and it is made of remixes of the CD. Did you commission the producers for the rmx or was it their initiative?
SEB: It was our initiative.
13. How did you chose the artists for the rmx in connection with the identity of each of your tracks?
SEB: We see the two remix singles in the Colours concept as a possibility to show people good music that we like, to get a new angle on our music. Since we listen to a lot different dance music we tried to find good artists in different styles. It’s not easy to get the artists you want since they have to be interested, they have to have time at the specific moment and you have to be able to pay their fee (some of the artists we asked take between 3000 – 5000 EUR for a remix … multiply that with 6 and you can understand it would have been a little bit too expensive).
14. Can you introduce the new name like Fredrik Holm “NOS”, or names less known in the Trance scene like Luke Chable or Shiloh, but better known in House? Who is behind Aztech?
SEB: NOS is actually very famous in the trance scene, not for his music since this is the first track he ever releases but for his extremely famous backdrops. Like us he’s travelling around the world every weekend to show his art. Music is his hobby and passion (I don’t know anyone with a bigger vinyl collection) and he have a massive 100% analogue studio with only old synthesizers, drummachines, sequences … no computer at all. Luke Chable is one of our favourite producers (there are actually a lot of good producers from Melbourne)… very trancy and groovy house … don’t know exactly what to say more than that he’s extremely talented. Shiloh (from Canada) is also one of our top favourites … from the beginning we wanted them to do a breakz remix but in the end they gave us a 4/4 mix that were too good to refuse. Some people will maybe say that this remix is a more commercial but the melodies and harmonies are so beautiful so they should touch everyone’s soul. Aztech is a young and extremely talented Swedish producer who is making all kind of electronic music. This remix is a deep downbeat mix, if you’ve heard any of the Chillosophy compilation that we released on DIGITAL structures you have heard tracks from him.
15. Remixing is one of your big creative activity, as you are about to release many rmx, for example Llopis in the next Set 3 at Iboga, of System 7 and Analog Pussy, and it is meant to develop in the future with the joint DS/Iboga projects titled Digiboga 1 and 2. The first one will combine creative energies from Denmark and Sweden while the other one will break boundaries and bring the aesthetics of Prog trance to Fullon, and conversely. What is this experience bringing to your work? Is it a way of reasserting the issues of the future of dance music, seen as an increasingly blending of stylistic influences?
SEB: Yes we’re making a lot of remixes and we actually love to do them. If we had time we would love to say yes to many more remixes but since we have to do our own music as well we say no too many of the requests. The System 7 remix was a great honour for us since they are of our old influences and also extremely great people, if you have the opportunity to see Steve Hillage and his wife on stage you really have to go. James Holden made a remix of the same system 7 track and since he is one of our favourite producers and djs at the moment it was an even bigger honour. I know that this 12” have sold extremely good but if it’s not sold out I recommend all of you to buy a copy directly. The Son Kite remix of Llopis was made three years ago and the first Crosslink compilation that DIGITAL structures released together with Iboga were released at the same time. The Crosslink was actually my idea to create a base for local artists in Malmoe and Copenhagen to get inspiration from each other and also to motivate artists to start to work with each other. Since Marcus and I don’t own DIGITAL structures anymore the new Crosslink compilation is not in our hands but I think the idea is really good … to join progressive and full on artists.
16. In a previous interview you declared that you avoided vocals in your composition because it would deter from the emotion of the music itself. This resentment seem behind you as you recently confessed listening to a lot of vocal music from different musical genres, I guess in relationship to your creative work. Can we expect more vocal tracks in the future from you?
SEB: Different music has different aims and missions. In this way most music styles can be very good at its specific moment. If you can’t appreciate music at a specific time it doesn’t mean that it’s not good, maybe you’re just listening to it at the wrong moment. I love vocal music and I have always loved vocal music, what I meant in that previous interview was the vocals in music can take away the psychedelic opportunities, specific words and lyrics can put you in one direction and this lowers the possibility for the listener/dancer to use his/her own imagination and fantasy. All musicstyle don’t have the aim to be psychedelic and some music styles are meant to give people an idea about a specific question. The more music you do the more different feelings you want to touch … at the moment it’s interesting for us to work with vocals but only in some compositions, otherwise we’re still focusing to create a non vocal base where the listener is free to create his/her own ideas.
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