Like that of the eponymous asphalt devourer he draws his name from, Jensen Interceptor has no time for obliging introductions and lame rides across techno dullsville. Well one to mash and smash, Mikey Melas’ sound is entirely designed to sling a brick into the game’s well-oiled mechanics by way of contribution. Having amassed an enviable amount of releases for some of the finest labels out there, including Maceo Plex’s Lone Romantic, Cultivated Electronics, SolarOneMusic, UTTU, Central Processing Unit, Private Persons, Pinkman & his own label International Chrome co-founded with long time collaborator Assembler Code, and countless more, the Sydney born and raised whizz has long traded his worn out brakes for some hounding breaks, and made the acid rave playground his area of expertise, as asserted by the reactions triggered off by his live appearances at today’s most renowned festivals and parties – literally tearing apart the likes of Dimensions, Tresor, Nuits Sonores and the late Concrete’s ever picky dance floors upside down.
Speeding the Jupiterian highway for a routine, Jensen Interceptor guns for the weak-kneed and the bone-weary, luring the dancers shapeless mass into a house-of-god’esque lair to feed them on his volatile mixture of high-octane, Detroit-perfused electro, post Tour de France Kraut & EBM, and alien sounds sourced further afield. With a dozen 12-inches in as many months, needless to say 2018 has been a record-breaking year for Mikey, setting new standards for a producer who’s been tirelessly gathering momentum; neither easing off the gas pedal in terms of studio grind, nor yielding to the main industry’s distinct production standards. Unpigeonholeable by nature, the release of his highly anticipated debut full-length, ‘Mother’, on Lone Romantic crowned him as a producer with a much broader vision than the single/EP format ever allowed the short-stay listener to understand. Seismic bass bomber, hyper-reliable floor steersman, but above all a deadeye epic workout composer with a sixth sense for melody making: no mystery as to why artists such as Aphex Twin, Helena Hauff, Dave Clarke, DJ Stingray, Nina Kraviz and The Hacker have all come to endorse his music wholeheartedly so much JI is a safe, yet uncompromising bet. Strike hard, strike sure.
就像他以自己的名字命名的沥青吞噬者一樣，Jensen Interceptor也沒有时间强迫在Techno Dussville上强行介绍自己。MikeyMelas的声音完美融合，完全旨在通过贡献的方式将一块砖砌成游戏中运转良好的机制。已经积累了令人羨慕的大量最佳发行唱片，其中包括Maceo Plex的Lone Romantic，CultivatedElectronics，SolarOneMusic，UTTU，Central Processing Unit，Private Persons，Pinkman及其自己的唱片公司International Chrome与长期合作者共同创立合编代码，以及无数其他的信息，悉尼出生和长大的神童很早就用疲惫的刹车來换取一些令人毛骨悚然的刹车，并使酸性狂欢游乐场成为他的专长，正如他在当今大多数時候的现场演出所引起的反应所表现的那样。著名的节日和聚会 从字面上将Dimensions，Tresor，Nuits Sonores和已故的Concrete挑剔的舞池颠倒過來。
詹森拦截器（JensenInterceptor）加快了木星高速公路的行驶速度，向弱者和骨疲倦的人开枪，将舞者的无形体引诱到神殿般的巢穴中，以高辛烷值的挥发性混合物底特律为食-灌注了电声，环法自行车赛后的Kraut和EBM，以及更远的地方发出的外来声音。毫无疑问，2018年对于Mikey来说是创纪录的一年，拥有长达12英寸的12英寸显示屏，这为制作人不断提高动力设定了新的标准。既不放松工作室的油门踏板，也不屈服于主要行业的独特生产标准。由于天生就无法洞悉，他在LoneRomantic上发行的备受期待的首张全长专辑《Mother》使他成为制作人，其目光比单曲/ EP格式要广，让短期听众能够理解。震撼的低音轰炸机，极为可靠的地面操舵员，但最重要的是具有史诗般的呆板史诗般的健身作曲家，对旋律制作具有第六种感觉：为什么AphexTwin，Helena Hauff，Dave Clarke，DJ Stingray，Nina Kraviz和The黑客已经全心全意地认可了他的音乐，因此JI是一个安全而又毫不妥协的选择。严打，坚决罢工。
Let’s start in a traditional way, could you tell us more about your childhood? What is your origin? Has music been around you since your early years? What was the process of your move to Berlin like and why did you choose this city and not, let’s say, New York, London or the place where you come from?
I was born in Sydney. My mother is from Cyprus and my father was Greek-Romanian. Growing up as a kid there was always music in the house, especially Greek music, sadly Greek music never imprinted on me however everything else my family listened to did. My grandfather who lived with us listened to a lot of jazz, like John Coltrane, Charlie Parker & Miles Davis, my mother is a total disco queen, obsessed with Donna Summer, ABBA, Boney M & Chaka Khan and my father loved a lot of bands from the 70’s like Creedence Clearwater Revival, The Eagles, The Doors & The Gypsy Kings. I didn’t play any instruments growing up, despite my mother owning a piano at home, she really tried pushing my older brother to play it but he wasn’t interested which made me not want to learn and play it either because I only wanted to do exactly what my older brother did. Looking back on this I’m actually glad I never learnt to play because now when I am producing tracks I am prone to make mistakes which sometimes turn into amazing ideas. A lot of my friends who are classically trained would never consider these mistakes or using incorrect notes but for me, sometimes that’s when magic can happen. I started producing around 2006 and it was soon after that I realised that Australia wasn’t the right place to be if I wanted to survive solely by doing music. I love Australia and as beautiful as it is, sadly the structures there aren’t strong enough to support producers who are into darker leaning sounds. I was very fortunate in the early 2000’s to have the opportunity to travel to Europe & the US and spent a lot of time in cities like London, Paris, New York & LA and I would then visit incrementally every few years and stay a few months at a time. I felt like I was falling in love with all those cities but after I visited Berlin for the first time, I saw how supportive it was for young creatives compared to other places, plus I also had a lot of friends moving there as well. So after a few more visits, I knew that when the time came to make that move abroad, Berlin would be where I’d plant my flag. With that being said, it wasn’t easy to make that move. With the scene in Australia not being sustainable for producers like myself, I was living that typical struggling musician cliché, working multiple jobs and really struggling to pay my bills & rent. After battling for about 8 or so years, I was about to give up on music altogether. That’s when my mother threw me a lifeline and told me to move back home, quit some of my jobs and focus on the music. She said she would give me a year to make it happen and if it didn’t work out then I would have to go get a 9-5. That year was stretched to 3, but she could see a change was happening and so could I. It was about this time that I released my first EP on Sheffield’s Central Processing Unit which was a huge turning point for me as I was finally becoming more comfortable & confident producing Electro. This was the record that caught my now agent / life coach Carin Abdulá’s attention. She messaged me on Facebook and told me she heard it randomly play in an office she was working in and that she would be interested to maybe work together but wanted to see what else I had planned and how I was going to grow as an artist before we made any solid plans. After receiving this message and this gift from my mum, I was more driven than ever & spent nearly every hour of every day locked in my studio. It was around this time I also met my future hubby Assembler Code. We were introduced to each other by one half of Instra:mental, Jon Convex. JC was in town playing some shows and invited me to come hang, when I got to the venue for one of his gigs, he was standing next to a wide eyed kid who I hadn’t seen before. He said “this is Brendan”, I’m like “hey Brendan what’s up”, JC then said “he’s mixing some of my tracks whilst I’m here” I was like “WHAT????” this had to be a joke right, I knew most people who were working within this small scene & had never seen or heard of Brendan before, so I couldn’t comprehend that someone so young who I had never met was working with someone like Jon Convex. He turned to me and said “I’m a huge fan of your music and would love to work together sometime if you wanted”. Thinking to myself if he’s good enough to be working with Instra:mental, then ok sure i’ll give him a chance. I asked where he is based and where his studio is, to which he replied “Maroubra” again this was another mind blowing moment. I grew up in Maroubra and it’s where my mother has lived her entire life in Australia. Maroubra wasn’t an easy place to grow up, in the 90’s there was a lot of crime and only up until recently (before it was mostly gentrified) was still a very grimey suburb of Sydney. In all my years working in music I don’t think I ever met anyone from Maroubra, so couldn’t believe he was from the same neighborhood as I and was working with Jon Convex. The next week I took him up on his offer and went to his studio in the back of his parents’ place which was about a 7 minute walk from my mum’s house. After that first session, we spent nearly every day together. The chemistry was instant and his engineering capabilities were like nothing I had encountered before. With this newly formed friendship with Brendan, the next 18 months flew by, the energy with us was crazy and we were finishing records every week. Electro was still not perceived as “cool”, but its newfound resurgence was slowly happening; so over the course of 2016-2017 a lot of labels who weren’t originally interested in my music ended up reaching out. Fast forward to the end of 2018 & I had released a record every month & had also released my first ever album which I fittingly named ‘Mother’ as a token of thanks & love to the woman who made all this possible for me. At the same time that this was happening, the conversations with Carin about bookings were becoming more frequent to the point where she encouraged me to make the move to Europe, as my diary was looking booked a year ahead. This is what I had been waiting for: I needed to hit the ground running and start working straight away, but I still couldn’t afford a plane ticket or a place to stay. Carin told me I could stay with her until I find a place and make some money and she also worked on payment agreements with promoters so that I could pay for my plane ticket. So I naturally said yes and at the tail end of 2018, to cap off all the music & hard work, I finally made the move to Berlin. I can’t thank Carin enough for all that she did & still continues to do for me, she has single handedly changed my life, I’ll forever be grateful & indebted to her for taking a chance on me. Our professional relationship aside, she is one of the most incredible humans I’ve ever had the privilege of knowing, she constantly inspires me to be a better person and it’s an incredible blessing just having her as friend.
我出生在悉尼。我的母亲来自塞浦路斯，父亲是希腊-罗马尼亚人。小时候家里总是有音乐，特别是希腊音乐，可惜希腊音乐从来没有给我留下深刻的印象，但是我的家人听的其他东西都有。我的祖父和我们住在一起，他听了很多爵士乐，比如John Coltrane、Charlie Parker和Miles Davis，我的母亲是个十足的迪斯科女王，迷恋Donna Summer、ABBA、Boney M和Chaka Khan，我的父亲喜欢70年代的很多乐队，比如Creedence Clearwater Revival、The Eagles、The Doors和The Gypsy Kings。 我从小到大都没有弹过任何乐器，尽管我妈妈家里有一架钢琴，但她试着逼我哥哥弹，但他不感兴趣，这让我也不想学习弹琴，因为我只想做我哥哥做的事情。回想起来其实我很庆幸自己从来没有学过弹琴，因为现在我在制作曲目的时候，很容易犯错，而这些错误有时候会变成惊人的创意。我的很多受过古典音乐训练的朋友绝不会考虑这些错误或使用错误的音符，但对我来说，有时这就是神奇的事情。我大约在2006年开始制作，不久之后我就意识到，如果我只想靠做音乐来生存，澳大利亚并不是一个合适的地方。我喜欢澳大利亚，虽然它很美，但遗憾的是，那里的结构不够强大，不足以支持那些喜欢黑暗倾向声音的制作人。在2000年初，我非常幸运地有机会去欧洲和美国旅行，在伦敦、巴黎、纽约和洛杉矶等城市度过了很多时间，然后我每隔几年就会去到这些城市，每次都会呆上几个月。我觉得自己是爱上了这些城市，但在我第一次去了柏林之后，我看到了柏林相比其他地方对年轻创客的支持，加上我也有很多朋友也搬到了那里。所以在多去了几次之后，我就知道，当我要迁移的时候，柏林会是我插旗的地方。话虽如此，但要做出这样的举动并不容易。在澳大利亚，像我这样的制作人的生活场景是不可持续的，我过着典型的挣扎着的音乐人的生活，做着多份工作，真的很努力地去支付我的账单和房租。在奋斗了8年左右后，我快要完全放弃音乐了。这时，我妈妈给我抛出了一条救命稻草，让我搬回家，辞掉一些工作，专心做音乐。她说她会给我一年的时间去做出点什么，如果不行的话，那我就得去找一份朝九晚五的工作。就在这个时候，我在Sheffield的Central Processing Unit发行了我的第一张EP，这对我来说是一个巨大的转折点，因为我终于可以更加自如和自信地
制作电子乐。这张唱片引起了我现在的经纪人/人生导师Carin Abdulá的注意。她在Facebook上给我发消息，告诉我她在她工作的办公室里偶然听到了这首歌，她有兴趣一起合作，但她想看看我还有什么计划，以及在我们做出任何切实的计划之前，我将如何作为一个艺术家成长。收到这条信息和我母亲的馈赠后，我比以往任何时候都更有动力，每天几乎每小时都关在工作室里。 就在这个时候，我也认识了我未来的老公Assembler Code。我们是由Instra:mental的一半Jon Convex介绍认识的。JC在城里演出，邀请我去玩，当我到了他的一个演出场地，他旁边站着一个大眼睛的孩子，我以前没见过他。他说：”这是Brendan”，我说：”嘿，Brendan，你好”，JC说：”我在这里的时候，他在给我的一些曲目混音”，我说：”WHAT????”，这一定是个玩笑，我认识这个小圈子里工作的大多数人，以前从未见过或听说过Brendan，所以我无法理解一个我从未见过的如此年轻的人和Jon Convex这样的人合作。他转过身来对我说：”我是你的音乐的忠实粉丝，如果你愿意的话，我很愿意有时间一起合作”。我心想如果他足够优秀，可以和Instra:mental合作，那么好吧，我肯定会给他一个机会。我问他的总部在哪里，他的工作室在哪里，他回答说 “Maroubra”，这又是一个让人震惊的时刻。我是在Maroubra长大的，我的母亲也是在那里生活了一辈子的澳大利亚。Maroubra并不是一个容易长大的地方，在90年代，这里犯罪率很高，直到最近（在它大部分被绅士化之前）还是悉尼一个非常严峻的郊区。在我从事音乐工作的这些年里，我想我从来没有见过马鲁布拉的人，所以不敢相信他和我来自同一个社区，而且是和Jon Convex一起工作。 第二周，我接受了他的邀请，去了他父母家后面的工作室，那里离我妈妈家大约有7分钟的步行路程。第一节课后，我们几乎每天都在一起。我们的化学反应一触即发，他的工程能力是我以前从未遇到过的。 有了和Brendan新建立的友谊，接下来的18个月过得飞快，我们之间的能量是疯狂的，我们每周都会完成唱片。当时电音还不被认为是 “酷”，但它的新一轮复苏正在慢慢发生；所以在2016-2017年期间，很多原本对我的音乐不感兴趣的厂牌最终都主动联系了我。快进到2018年年底，我每个月都会发行一张唱片，同时也发行了我的第一张专辑，我把这张专辑命名为《母亲》，以感谢和爱的方式，致敬那个让我实现这一切的女人。 在这一切发生的同时，与Carin关于预约的对话也越来越频繁，以至于她鼓励我去欧洲，因为我已经被约到一年之后了。这正是我一直在等待的。我需要马上开始工作，但我还是买不起机票和住宿的地方。Carin告诉我，在我找到地方并赚到钱之前，我可以和她住在一起，她还会和促承办方达成付款协议，这样我就可以支付飞机票的费用。于是我自然而然地答应了，在2018年末，作为我所有的音乐&努力工作的收尾，我终于搬到了柏林。我非常感谢Carin为我所做的一切&仍在继续做的一切，她一手改变了我的生活，我将永远感激&欠她的。撇开我们的专业关系不谈，她是我有幸认识的最不可思议的人之一，她不断激励我成为一个更好的人，有她做朋友是一种不可思议的幸福。
It’a pretty impressive story. I believe plenty of people come to Berlin and start building up their career and you did opposite.
Well, I had already spent so much of my life grinding, working multiple jobs in bars, clubs, retail shops & other various things. It didn’t make sense for me to come over to Europe and do that all over again without the support from my Mother. I wanted to use the time my mum gave me to build up my profile to the point where I could come over to Europe and start touring straight away. I’m so glad I did this because when 2019 rolled around, I truly had the most incredible and insane year in my life. I still remember some of the first shows like it were yesterday and they will forever remain so special to me as I had the opportunity to literally play some of my own tracks for the very first time which was such a surreal feeling.
We assume you love racing cars. Is that your main story behind your DJ name ? The model Jensen Interceptor is spectacular.
Car culture has always been a big thing in most ethnic families, and mine was no exception. My older brother was a mechanic so once again whatever his loves or passions were, also became mine. There was no escaping car culture growing up in my neighbourhood as well, on the weekends my block looked very much like a lot of scenes from the Fast and Furious but without all the glamorous Hollywood glitz & glam. My brother took me to a lot of the car shows & illegal races, where he would also race & I was instantly hooked. He was into a lot of older Ford’s so I too became a Ford fanatic and started becoming fascinated with more classic cars. As it turned out my grandfather owned a Jensen Interceptor at one point and as a baby I apparently was obsessed with the car, but the name came to my attention another way. Before Jensen, I was in a project called Light Year. It was in the early 2000s, with one of my best friends Jordan Feller. At the peak of our success we both realised we were going in different directions creatively & decided to stop the project. We were still sharing the studio, so basically our process didn’t change and we were still helping each other with tracks & working together. I had just finished my first EP and it was signed to a newly formed local label called Motorik. Everything was ready, but I still didn’t have a name for the project. I wanted to go for something silly & not so serious to best reflect my personality but couldn’t think of anything… until Jordan mentioned that he watched an episode of Top Gear the night before and that they did a special on a car called…”Jensen Interceptor”. It clicked instantly!
汽车文化一直是大多数少数民族家庭的大事，我的家庭也不例外。我的哥哥是一名机械师，所以无论他的爱好或激情是什么，也再一次成为我的。在我的社区里，汽车文化也是无法逃避的，周末的时候，我所在的街区看起来很像《速度与激情》中的很多场景，但没有好莱坞的华丽与魅力。我哥哥带我去看了很多车展和非法比赛，他也会在那里比赛，我一下子就被吸引住了。他喜欢很多老款的福特车，所以我也成了福特迷，并开始对更多的经典车着迷。原来我的爷爷曾经拥有一辆詹森拦路虎，我还是一个婴儿时候对这辆车很着迷，但这个名字其实是以另一种方式引起了我的注意。在Jensen之前，我参加了一个叫Light Year的项目。那是在2000年早期，我和我最好的朋友Jordan Feller一起做的。在我们成功的巅峰时期，我们都意识到我们在创作上的方向不同，于是决定停止这个项目。我们仍然共享工作室，所以基本上我们的流程没有改变，我们仍然在互相帮助，一起工作。我刚刚完成了我的第一张EP，它被签给了一个新成立的本地厂牌Motorik。一切都准备好了，但我还没有为这个项目取一个名字。我想用一些傻乎乎的、不那么严肃的东西来反映我的个性，但我想不出来……直到Jordan提到他前一天晚上看了一集Top Gear，他们做了一个关于一辆车的特别节目，叫做.“Jensen Interceptor”。感觉一下子就对了！
I guess we have already mentioned it, but we are absolutely into your productions and sets, and we’re extremely curious about the process and the timeline between idea and the final release. How has that worked for you? You said that while you were working with Amato – The Hacker it was pretty spontaneous, and it only took 2 days. However, many times you have collaborated with Assembler Code as well. What are the differences between their particular touch and yours? What makes those tracks so powerful and way beyond the intuitive core of sound? Are there any plans of having something bigger with one of them any time soon?
The process is always different with everyone, that’s one of the exciting things about collaboration. Michel is a legend who has been writing music for over twenty years now and still keeps reinventing himself, always sounding fresh. Working with someone like that makes my job easy and this is why we did an EP in two days. Structuring tracks is probably my strong suit, so combining that with Michel’s ability to stand in front of any synthesizer and create any sound you like, made for some very productive studio chemistry. That’s why it went so smoothly: we both played to our strengths. I would tell him “make this sound, make that sound” and ask him to keep riffing whilst I was recording and sequencing everything up, and after a few hours we had 2 -3 tracks already roughly laid out. We did speak about working on something together again but as my career took off and my touring schedule increased, it became more & more difficult to find the time, as was the case with Michel. But I have made a promise to him that I will make a trip to Grenoble at some point and reignite those studio flames we shared. With Brendan it’s completely different, we both come from very different places musically which I think is one of our strengths. Brendan hadn’t really listened to a lot of rap or electro before we met, so after I had opened him up to that world, it was amazing to have his fresh take on it when we were exploring concepts. Like I mentioned before, he is so incredibly talented as an engineer, I can sometimes present the simplest of ideas and he can then transform them sonically into something that I couldn’t have imagined or thought possible. Some notable examples of this would be our tracks Drum Rack, Lean Before The Interview & Pipe.
我想我们已经提过了，但我们非常喜欢你的制作和布景，我们非常好奇从想法到最终发布的过程和时间线。这对你来说是怎样的？你说过，当你和Amato – The Hacker合作的时候，是很自发的，只花了2天时间。 然而，很多时候你也和Assembler Code合作过。他们的特殊触感和你的有什么不同？是什么让那些曲目如此强大，远远超出了声音的直观核心？ 是否有计划在不久后与他们中的一个人有更大的合作？
每个人的过程总是不一样的，这也是合作的兴奋点之一。Michel是一个传奇人物，他已经写了二十多年的音乐，而且还在不断地重塑自己，总是发出新鲜的声音。与这样的人合作，让我的工作变得轻松，这也是为什么我们在两天内就完成了一张EP。结构化曲目可能是我的强项，所以结合Michel站在任何合成器前创造任何你喜欢的声音的能力，我们在录音室里产生了非常有效的化学反应。这就是为什么它如此顺利：我们都发挥了自己的优势。我会告诉他 “做这个声音，做那个声音”，并要求他继续riffing，而我在录音和排序一切，几个小时后，我们已经有2-3个轨道已经大致确定。我们确实讨论过再次合作的问题，但随着我事业的起飞和巡演日程的增加，越来越难找到时间，就像Michel的情况一样。但我已经向他承诺，我会在某个时候去Grenoble一趟，重新点燃我们在录音室的火焰。 和Brendan在一起是完全不同的，我们都来自非常不同的音乐领域，我认为这是我们的优势之一。在我们认识之前，Brendan并没有听过很多说唱或电音，所以在我让他接触到那个世界之后，当我们在探索概念时，他能有新的看法，这很令人惊讶。就像我之前提到的，他作为一个工程师是如此令人难以置信的天赋，我有时可以提出最简单的想法，然后他可以将它们在声音上转化为我无法想象或认为可能的东西。一些值得注意的例子是我们的曲目Drum Rack, Lean Before The Interview & Pipe。
I believe you learnt a lot from them but if you could mention just one thing, what it would be?
That’s a pretty hard question! I have learnt so much from both of them. Brendan is one of my best friends & that friendship doesn’t solely revolve around our love of music or our label – we talk a lot about all aspects of life & are constantly supporting each other like real brothers. I think he has taught me to experiment more with my processes and to continue to think outside the box. Michel taught me the beauty of simplicity & limitations. For our EP we pretty much only used my SH101 and at the time I hadn’t used it for so long because I was no longer inspired by it, but he showed me another side to it and I can now write entire tracks with it.
We are aware that your roots are close to hip-hop/rap, How does your relationship with so many different genres of music impact your productions? Do you think it’s your secret weapon to have that wide spectrum including rap?
I definitely think so. A producer’s taste is equally if not more important than their engineering & production techniques. You can be the best engineer in the world but if you don’t have that depth in your knowledge of music, it can limit your creativity. All music is connected, a lot of my producer heroes were not listening to their own music before they started producing it, they were listening to Wave, Afrobeat, Soul, Funk, Blues, Cosmic, Jazz, Punk, etc. which is what led them to the place we all love & know them for. If you do the same and broaden your knowledge, it’s only going to take you further creatively with your own output. When I’m going about my day, I’m listening to either Wave, Italo, Soul, Jazz, R’n’B, Bossa Nova or (surprise, surprise!) a lot of Rap. I’m obsessed with West coast & Southern rap producers like Dr. Dre, DJ Screw, Pimp C, Mannie Fresh, DJ Paul, Lord Infamous & DJ Zirk, who have all had a huge impact on me. And of course, it goes without saying that Gucci Mane is probably my biggest inspiration next to Kraftwerk & Drexciya.
我绝对是这么认为的。一个制作人的品味如果不是比他们的工程和制作技术更重要的话，也是同样重要的。你可以是世界上最好的工程师，但如果你对音乐的认识没有那么深入，就会限制你的创造力。所有的音乐都是相通的，我的很多制作人英雄在开始制作音乐之前并没有听过他们自己的音乐，他们听的是Wave、Afrobeat、Soul、Funk、Blues、Cosmic、Jazz、Punk等等，这才是导致他们达到我们都喜欢&了解他们的地方。如果你也这样做，拓宽你的知识面，它只会让你在自己的创作上更进一步。当我每天都在做的时候，我会听Wave、Italo、Soul、Jazz、R’n’B、Bossa Nova或者（惊喜，惊喜！）很多Rap。我迷恋西海岸和南方的说唱制作人，比如Dr. Dre、DJ Screw、Pimp C、Mannie Fresh、DJ Paul、Lord Infamous和DJ Zirk，他们都对我产生了巨大的影响。当然，不用说，Gucci Mane可能是我最大的灵感来源，其次是Kraftwerk和Drexciya。
Going back to sets, the performance at Hor and other places with your buddy Kris Baha, was just epic! It’s not the first time you two showed up together… Have you ever thought about working on an album together? I think that would be a perfect match!
Indeed, it would be a match made in heaven! Kris is one of my all time favourite people & artists. We’ve DJ’d together a few times & some of those sets are up there as my favourites. I met Kris back in Australia about 10 or so years ago and it was love at first sight. He used to run a party down in Melbourne and booked my first project Light Year for our first ever Melbourne show. We’d never met before so I had no idea what to expect, but when we arrived at the venue, Jordan (the other half of Light Year) said to me “the person who booked us is playing a live set in the other room, let’s go check them out”. As we were getting closer to the room, I couldn’t believe what I was hearing, it sounded like Soulwax (one of my biggest influences at that time) was playing and I was almost convinced it was, as no one in Oz at that time was making anything remotely close to that sound. But sure enough, once we were able to get close enough to see the stage, there was Kris front and centre banging out an insane set. After we met we instantly spoke about doing music together and tried the next few times I went down to visit, but within those few visits we never finished anything. Since then he moved to Berlin and it’s been incredible to see him grow into the artist he is today. I don’t think I’ve ever met anyone who works as hard at their craft than Kris does & is equally as talented. Now that we are living together, there have definitely been some talks about doing a record together… some day, who knows?
的确，这将是一场天作之合！Kris是我一直以来最喜欢的人和艺术家之一。我们一起做过几次DJ，其中有些是我最喜欢的。我在澳大利亚认识了Kris，大约10多年前，我们一见钟情。他曾经在墨尔本开过一个派对，并为我的第一个项目Light Year预订了我们在墨尔本的第一场演出。我们之前从来没有见过面，所以我不知道会发生什么，但是当我们到达场地时，Jordan（Light Year的另一半）对我说：”预定我们的人在另一个房间里有现场演出，我们去看看他们吧”。当我们离房间越来越近的时候，我简直不敢相信我听到的是什么，听起来像是Soulwax（当时对我影响最大的乐队之一）的演出，我几乎相信是这样，因为当时在Oz没有人发出任何接近这种声音的东西。但果然，当我们靠近舞台时，Kris就站在舞台的最前头和中心，为我们带来了一场疯狂的演出。我们见面后，我们马上说要一起做音乐，接下來的几次我都试着去探访，但在那几次探访中，我们都沒有完成任何事情。从那时起，他搬到了柏林，看到他成长为今天的艺术家，我感到非常不可思议。我想我从来没有遇到过比Kris更努力工作的人，他也同样有才华。现在我们住在一起，肯定有一些关于一起做一张唱片的会谈.有一天，谁知道呢？
Unfortunately we are still confronting the pandemic and developing new ways of living, we believe many artists are facing problems because of it. The music industry got hit the most, besides financial problems, lack of shows, we believe it’s also the lack of the invisible power of performing and interacting with people during shows. What are your feelings about it? Has it affected your productions?
For most of last year I definitely wasn’t able to focus on music at all. For the first time in my life I experienced depression and was completely consumed by what was happening around the world. As I adjusted to this new way of life and worked through my mental health, I was slowly able to shift some energy back into music and recently have started to feel a little bit like my old self again from a production standpoint. The lack of clubs hasn’t affected my sound in any way which isn’t too surprising to me since I got used to creating music without that stimulation when I was still in Australia. Without sounding too cheesy, making music is like therapy. I only want to make tracks that make me dance and make me feel happy and the only type of tracks that make me feel that way are of the banging persuasion. If from tomorrow onwards there were never clubs and parties again (touch wood that never happens), I’d still be making what I’m making.
Do you think there will be a huge change between DJs who are gonna appear on the stage after we get back into clubs? Did you ever think we were gonna have such a long break from parties?
Sadly, yes. After a few months into the so-called lockdown here in Berlin, I knew that it was going to be a very long time before things got better. I remember back in March last year lots of Berliners were not wearing masks & when I was walking to the supermarket with my mask on people were actually laughing at me for wearing one. During these trips to the supermarket when we were in “lockdown”, as I would pass through either Gorlitzer Park or by the canal, it was always packed with people gathering together, just hanging out behaving like everything was fine and corona wasn’t that serious. So it was inevitable that this virus was going to stick around as long as it did due to everyone’s lacklustre attitude here (including the governments). Last year I felt hopeful & thought to myself that one of the possible silver linings to come from the pandemic & from the incredible momentum of the Black Lives Matter movement, could be that we will see a positive & long overdue reset for the music industry, one that would see more inclusion of POC, NB & LGBTQ folk. Sadly though as 2020 progressed, we all saw & still continue to see these plague raves happening in countries with less infrastructure to handle the covid crisis, these record labels, promoters & festivals still taking racist stands, DJs who are serial abusers… so I now fear that things are going to be even worse than they were before, honestly. It was disgusting to see these millionaire DJ’s still playing parties during the pandemic to thousands of people, still earning their usual fees while less established artists were & still are struggling to the point of homelessness, or, in some heartbreaking instances, suicide. I think now more than ever it’s essential for all artists & DJ’s to become more socially engaged and have more conversations about racism, inclusion, capitalism, wealth sharing and other “taboo” issues. That doesn’t mean just sharing another activism meme on your Instagram, it means actually engaging with other artists, bookers, promoters and club owners about implementing new systems to change the current state of things, not shying away from uncomfortable conversations and passing on opportunities to overlooked artists & turning down opportunities for the sake of power sharing We have a long way to go but I am a little hopeful as the response from my personal experience in having these conversations has been positive and well received.
很遗憾，是的。在柏林所谓的封锁了几个月之后，我知道要想好转还需要很长的时间。我记得去年3月的时候，很多柏林人都没有戴口罩，而当我戴着口罩去超市的时候，人们居然嘲笑我戴口罩。在这些去超市的路上，当我们处于 “封锁 “状态时，因为我会经过Gorlitzer公园或者运河边，那里总是挤满了聚集在一起的人，只是在外面闲逛，表现得好像一切都很好，新冠也没那么严重。所以，由于这里大家的态度不积极（包括政府），这个病毒能坚持这么久是必然的。 去年，我觉得充满希望，我想，从这场大流行病和黑人的命也是命运动的惊人势头中，可能会有一线希望，我们将看到一个积极的和早该重设的音乐产业，一个将看到更多的有色人种，飞二元性别和LGBTQ民间的包容性。但遗憾的是，随着2020年的进展，我们都看到了，并且仍然继续看到这些瘟疫狂欢发生在基础设施较少的国家，以处理covid危机，这些唱片公司，发起人和节日仍然采取种族歧视的立场，DJ们有些是连环施虐者连……所以我现在担心事情会比以前更糟糕，诚实地说。看到这些百万富翁DJ在流行病期间仍然为成千上万的人举办派对，仍然在赚取他们的常规费用，而那些不太知名的艺术家却仍然在挣扎，甚至无家可归，或者，在一些令人心碎的情况下，自杀，真是令人恶心。我认为现在比以往任何时候都更需要所有的艺术家和DJ们更多地参与到社会中来，并就种族主义、包容、资本主义、财富分享和其他 “禁忌 “问题进行更多的对话。这并不意味着只是在你的Instagram上分享另一个行动主义的备忘录，这意味着真正与其他艺术家、预订者、推广者和俱乐部老板接触，实施新的系统来改变目前的状态，不回避不舒服的对话，并将机会传递给被忽视的艺术家，以及为了权力分享而拒绝机会。 我们还有很长的路要走，但我有一点希望，因为从我个人的经验来看，进行这些对话的反应是积极的，并受到好评。
If you could pick three of your favourite clubs in the world from your travels? Could you tell us a short story about one of those gigs? Are there any funny moments behind these special nights?
I consider myself so privileged & fortunate to have experienced many incredible moments & places around the world, but if I really had to narrow it down to 3 (in no particular order) would be Koramangala Social Club in Bangalore, India, the late Mosaique in Saint Petersburg, Russia and the one & only TAG in Chengdu, China. I could tell stories about all three, but I have to say going to India for the first time in 2019 was such an incredible culture shock & eye opening experience which I will cherish forever. I played in Bombay, Delhi & Bangalore, all 3 were insane but I would have to say Koramangala Social Club in Bangalore was like nothing I had ever experienced before as far as peoples energy goes. Basically everyone in the venue was jumping up and down the entire time and when I say everyone, I really do mean everyone. There were times I looked over at the bar and people were jumping whilst waiting to order their drinks, people were jumping in line for the toilets & the people at the very back of the club were doing the same and it was like that till the very end of the night. It felt like we were all experiencing something new for the very first time & everyone was so engaged, not concerned about anything else but dancing and having the best time possible.
我认为自己非常荣幸&幸运地在世界各地经历了许多令人难以置信的时刻&地方，但如果我真的要把它缩小到3个（没有特别的顺序），将是印度班加罗尔的Koramangala Social Club，俄罗斯圣彼得堡的已故清真寺和中国成都的唯一TAG。我可以讲述关于这三个地方的故事，但我不得不说，2019年第一次去印度是一次不可思议的文化冲击&开阔眼界的经历，我将永远珍惜。我在孟买、德里和班加罗尔玩过，所有3个都很疯狂，但我不得不说班加罗尔的Koramangala社交俱乐部就像我以前所经历过的任何事情一样，人们的能量也是如此。基本上每个人都在场地里跳上跳下，当我说每个人的时候，我真的是指每个人。有几次我看着吧台，人们在等着点饮料的時候也在跳，人们在排队上厕所的時候也在跳，俱乐部最后面的人也在跳，就这样一直到晚上結束。感觉我们都是第一次体验到新的东西，每个人都是那么的投入，除了跳舞和享受最好的时光之外，不关心其他任何事情。
Moving to the Asian part of the world, you performed in a few countries there. You went to China in 2019. What was your first thought about having a tour there? The scene there has been growing year after year. You have been in Chengdu, Beijing and Guangzhou. Which city do you remember the most? Any sweet or salty stories to put on the table? What is your impression about the playground on the streets and the constantly pumping atmosphere from each corner? You’ve probably seen a group of old Chinese people dancing to the boombox and having best time in their life. We think that’s the amazing part of the Chinese culture.
It’s really hard to choose which city was my favourite as I had an amazing time in all 3 but probably Chengdu was just that little bit more special for me. When my agent messaged me about the tour happening & that I would be traveling to China for the first time, I was beyond excited & felt like a kid on Christmas morning. I know a lot of DJ’s complain a lot about travelling & how draining it can be – trust me, I’ve definitely been that person before – but when things like this happen it’s such an incredible blessing. China has been on my bucket list since I was a kid. I’ve had a strong love and appreciation for Chinese culture and other Asian cultures since I was very young. We have a huge Asian community in Australia, growing up as a kid a lot of my best friends were either Chinese, Korean or Japanese and I was very fortunate to have had some early exposure to their culture. When I arrived in Chengdu I played a club called TAG which reminded me of a miniature Berghain placed on top of a 30 plus story office building. Instantly there was an energy from the people & the city itself that was more infectious than any other place I had visited before. I was lucky enough to spend a few nights there and also visited some other parties. I’m a huge fan of Italo Disco & Hong Kong disco and one of the other parties I visited, that’s all they were playing. I also have to mention that everyone’s fashion was on another level and I had never felt more basic / underdressed in my entire life. The woman running the party asked if I wanted to play as well, to which I almost cried, as I almost never have an opportunity to play much Italo & 80’s kinda music. Lucky for me, my hotel was right next door so I ran & grabbed my USB. As soon as I started playing everyone was singing along to everything I was playing, tracks from Ti-Tho, Lime, Meiko Nakahara, Gazebo, D.A.F. Kaoru Akimoto, Casco & even some INXS which melted my heart seeing everyone singing along to Michael. I can’t thank Ellen from TAG enough for taking such incredible care of me and introducing me to the greatest hot pot I’ve ever had in my life. I am dying to go back and hope it can happen as soon as it’s safe to do so.
真的很难选择哪个城市是我最喜欢的，因为我在三个城市都度过了一段美好的时光，但可能成都对我来说更特别一点。当我的经纪人给我发来消息，说我将第一次到中国旅行时，我非常兴奋，感觉自己就像一个圣诞节早晨的孩子。我知道很多DJ经常抱怨旅行是多么的枯燥乏味–相信我，我以前肯定也是这样的人–但是当这样的事情发生的时候，这真是一个不可思议的祝福。中国从我小时候起就一直在我的遗愿清单上。我从小就对中国文化和其他亚洲文化有着强烈的热爱和欣赏。在澳大利亚，我们有一个庞大的亚洲社区，从小到大，我的很多好朋友不是中国人，就是韩国人或日本人，我很幸运能早早接触到他们的文化。当我来到成都的时候，我在一家叫TAG的俱乐部玩，它让我想起了一个迷你的Berghain，放在一栋30多层的办公楼顶上。瞬间，这里的人和城市本身就有一种能量，比我之前去过的任何地方都更有感染力。我很幸运地在那里度过了几个晚上，也参观了其他一些聚会。我是意大利迪斯科和香港迪斯科的忠实粉丝，在我去的其他派对中，他们只播放这些音乐。我也不得不说，每个人的时尚都在另一个层次上，我一生中从来没有感觉到更多的基本/穿着不足。派对的组织者问我是否也想放歌，我几乎要哭了，因为我几乎没有机会放很多意大利和80年代的音乐。幸运的是，我的酒店就在隔壁，所以我跑去拿了我的USB。当我一开始演奏的时候，每个人都跟着我的演奏唱了起来，包括Ti-Tho、Lime、Meiko Nakahara、Gazebo、D.A.F.Kaoru Akimoto、Casco，甚至还有一些INXS，看到每个人都跟着Michael唱，我的心都融化了。我非常感谢TAG的Ellen对我的照顾，并把我介绍给了我一生中吃过的最棒的火锅。我很想回去，希望能在安全的情况下尽快实现。
The last part of the interview and cherry on the cake is your label “International Chrome” which you run with Assembler Code, it was amazing to start an EP with the legend The Hacker, then Assembler Code itself and recently Luz1e or Amadeezy. What was your trigger to start a label? What could you say about the process of working with Luz1e? How did you two get in touch? What are your further plans?
Running a label was always a fantasy of mine but I always thought it would be just that: a fantasy and never a reality. I had not entertained the idea until I spoke with Vi from Motorik who wanted to start a new label for darker sounding music and thought we would make a good team. At the same time Michel (The Hacker) had his Australian tour happening, so I thought “what better way to launch my own label than having a record from myself & Michel?!”. Sadly, as we were planning this first record, Vi became too busy with other projects and I was left to steer the ship which didn’t feel like as much fun. As I was still deep into my honeymoon phase with Brendan, I thought this could be the perfect thing to take our new found bromance to a new level… so I proposed and he said yes.
I still remember the first time I discovered Luz1e. She had a EP with Lobster Theremin & I heard her track ‘4/5/20/18/15/9/20’ from the EP in someone’s mix on Soundcloud. Once I found out it was her, I reached out instantly on Instagram and asked if she had any more electro sounding stuff to send over. She was still experimenting with many genres of music at the time, finding her lane, but I knew she definitely had amazing potential to produce some more Detroit inspired sounding electro & techno. She said yes but that she was still going through that experimental phase. We kept chatting and building a friendship, and after a little while she put together the tracks that you all now know (& hopefully love) as her Cybernetic Movements EP. I’m super proud of her, she has grown so much as a producer these last few years as has our friendship. Her tracks just continue to get better. Recently she moved to Berlin (much to my delight), so naturally we have gotten together and started working on some tracks. She is very similar to Brendan in that they are both total sweethearts, not opportunistic in any way and both have a genuine warmth & care for others. Luz1e just wants to create music and leave a positive impact in the world, and I saw this straight away. It’s why our friendship has blossomed personally and professionally to what it has. It’s an absolute privilege to be working with her.
I can say the exact same for Omar (Amadeezy). As soon as we connected there was an instant chemistry and a mutual love & respect for one other. In the last few years we have seen a huge revival in bootlegs & edits (some of which I’m not too overly fond of) but when I heard Omar’s tracks they were on a completely different level. It was clear to me that he has incredible depth & knowledge of underground music, which you come to expect, him being the OG in the game that he is. As with Luz1e, we have a real friendship and we definitely have a plan to keep it moving & continue working together. For our future Chrome plans, I am also very happy to exclusively announce to you that our next 2 releases will be from 2 more dear friends of mine and both creative geniuses in their own right: Nite Fleit & Djedjotroinc. We will also be hitting our 10th release this year and have something very big planned for that, but sadly can’t lift the curtain on that just yet.
经营一个品牌一直是我的一个幻想，但我一直认为这只是一个幻想，永远不会成为现实。直到我和来自Motorik的Vi交谈后，我才有了这个想法，他想成立一个新的黑暗音乐品牌，并认为我们会是一个很好的团队。同时Michel（The Hacker）也在澳大利亚进行巡演，所以我想 “有什么比我和Michel的唱片更好的方式来推出我自己的厂牌呢？”。遗憾的是，当我们在计划第一张唱片的时候，Vi忙于其他项目，而我则被留下来掌舵，这让我觉得没有那么多乐趣。当我和Brendan还在蜜月期的时候，我想这可能是一个完美的事情，把我们新发现的兄弟情谊带到一个新的水平……所以我向他提议，他答应了.
我还记得我第一次发现Luz1e的时候。她和Lobster Theremin合作了一张EP，我在Soundcloud上的某人的混音中听到了她的歌曲 “4/5/20/18/15/9/20”。当我发现是她的时候，我立刻在Instagram上联系了她，问她是否有更多电音的东西可以发过来。她当时还在尝试很多音乐类型，寻找自己的道路，但我知道她绝对有惊人的潜力，可以制作出更多底特律灵感的电音和电子乐。她说是的，但她还在经历那个实验阶段。我们一直在聊天，建立了友谊，过了一会儿，她把你们现在都知道（希望你们会喜欢）的歌曲组合成了她的Cybernetic Movements EP。 我为她感到骄傲，她作为一个制作人在过去几年里成长了很多，我们的友谊也是如此。她的作品越来越好。最近她搬到了柏林（让我很高兴），所以我们自然而然地走到了一起，开始制作一些曲目。她和Brendan非常相似，他们都是完全的甜心，没有任何机会主义，都有一种真诚的温暖和对他人的关怀。Luz1e只想创造音乐，给世界留下积极的影响，我一眼就看出了这一点。这也是为什么我们的友谊在个人和专业上都能发展到现在的地步。 能和她一起工作是我的荣幸。
我对Omar(Amadeezy)也有同样的感觉。我们一接触，就立刻产生了化学反应，彼此相爱和尊重。在过去的几年里，我们看到了一个巨大的复兴的引导和编辑（其中一些我不是太喜欢），但当我听到Omar的歌曲，他们是在一个完全不同的水平。我很清楚，他对地下音乐有着难以置信的深度和知识，这是你所期待的，他是游戏中的OG。就像和Luz1e一样，我们有真正的友谊，我们肯定有计划继续合作。对于我们未来的Chrome计划，我也非常高兴地独家向大家宣布，我们接下来的两款新作将来自我的另外两位挚友，他们都是自己的创作天才。Nite Fleit 和 Djedjotroinc。我们今年也将迎来第10次发行，并有一些非常大的计划，但遗憾的是现在还不能揭开帷幕。
Thanks for the such a announcement. We can’t wait to listen those upcoming projects! I remember you mentioned something about compilations of International Chromies and raising money for charities. Could you tell us how that’s working so far?
It’s been working out amazingly so far and we have been blown away with how supportive people have been. Last year it seemed as though we were waking up to a new crisis every day and I, like so many, was feeling completely helpless. I wanted to do something to try to help with all these different issues that we are still facing, but wasn’t quite sure how. At the same time one thing I was noticing last year, is that surprisingly so many artists were still being incredibly productive and releasing so much music despite the world crumbling. Also Bandcamp had announced their amazing ‘Bandcamp Friday’ initiative (one of the only amazing things to come out of 2020), making things a little more hopeful for artists and suddenly it clicked. When I’ve had a successful release I might be lucky to see anywhere from 500 – 1000 eu from sales, which might not be much or go very far for some, but in the hands of people in need, it goes a lot further. So I figured if we start a new series of releases just digitally and exclusively through our Bandcamp page, we might be able to raise some much needed money. I started reaching out to some friends & other artists that I liked to see if they would be interested and everyone said yes almost instantly. I also had some edit style tracks that I would never have considered releasing but suddenly thought if they were going to be going directly to charity, then maybe it would be ok to use them in this instance. Each Chromies release we do goes to a different charity and to date we have raised over 10,000 EU in total. The charities we have given money to so far are Sufra, The International Rescue Committee, The Milwaukee Freedom Fund, Refugee 4 Refugees, Kampania Przeciw Homofobii, The Detroit Underground Music Academy, The Healing Foundation, Reconciliation Australia & The School Of Bop. If anyone reading this is in a position to donate to any of these causes, I kindly ask that you please do.
到目前为止，我们的工作效果非常好，人们对我们的支持让我们大吃一惊。去年，我们似乎每天都在新的危机中醒来，我和许多人一样，感到完全无助。我想做一些事情，试图帮助解决我们仍然面临的所有这些不同的问题，但不太确定如何做。同时，去年我注意到一件事，就是令人惊讶的是，尽管世界在崩溃，但仍有许多艺术家在令人难以置信地生产和发布这么多音乐。另外，Bandcamp也宣布了他们惊人的 “Bandcamp Friday “计划（2020年仅有的惊人之举之一），让艺术家们的希望更多一些，突然间就有了点击。当我的作品成功发行时，我可能会幸运地看到500-1000欧元的销售收入，这对一些人来说可能并不多，也不会走得很远，但在有需要的人手中，它就会走得更远。所以我想，如果我们开始一个新的系列，只通过我们的Bandcamp页面以数字形式发布，我们也许能够筹集到一些急需的资金。我开始联系一些我喜欢的朋友和其他艺术家，看他们是否有兴趣，每个人几乎都立刻答应了。我也有一些编辑风格的歌曲，我从来没有考虑过要发行，但突然想到如果它们要直接捐给慈善机构，那么也许在这种情况下使用它们也是可以的。Chromies的每一次发行都会捐给不同的慈善机构，到目前为止，我们已经筹集了超过一万欧元的善款。到目前为止，我们已经捐给的慈善机构有：Sufra, The International Rescue Committee, The Milwaukee Freedom Fund, Refugee 4 Refugees, Kampania Przeciw Homofobii, The Detroit Underground Music Academy, The Healing Foundation, Reconciliation Australia & The School Of Bop。如果有人读到这篇文章，能够为这些事业捐款，我恳请你这样做。
Have you thought of preparing videos for the tracks in your label?
Yes, with every release we like to make a video clip for one of the tracks. One of the many talented artists that we work with (Dagga) also happens to make incredible videos. Like with all the artists on the label we have an amazingly close relationship and one day he offered to make a video for my track with DeFeKT ‘Mindlock’. When he sent through the final vision, I was blown away and we made plans straight away for Luz1e’s ‘Cybernetic Movements’ which is now uploaded on our YouTube channel. He is currently finishing up our next clip for Amadeezy’s ‘The G-Code’ and after seeing a little snippet, I’m absolutely dying for it to drop.
是的，每一次发行，我们都喜欢为其中一首歌曲制作视频剪辑。与我们合作的众多天才艺术家之一（Dagga）也恰好会制作令人难以置信的视频。就像我们厂牌上所有的艺术家一样，我们之间的关系非常密切，有一天他提出要为我和DeFeKT的歌曲《Mindlock》制作视频。当他发来最终的视觉效果时，我被震撼到了，我们直接为Luz1e的’Cybernetic Movements’制定了计划，这段视频现在已经上传到我们的YouTube频道。他目前正在为Amadeezy的《The G-Code》完成下一个片段，在看到一个小片段后，我非常期待它的发布。
What would be the advice for young producer sending tracks to you?
Our sound is very inspired by Detroit electro and obviously Kraftwerk. My advice for a lot of new and younger producers who are discovering Electro through me or any of the other artists we are pushing, would be to look a little deeper and see what has inspired us. Everything I do comes from Kraftwerk, Drexciya, Juan Atkins, Dr. Dre, Depeche Mode, J. Dilla, Aphex Twin, New Order, Front 242 and so many more. These are the artists who have inspired me and been a big part of my journey, so if you are feeling what I’m doing then maybe you might be able to tap into what resonated with me and take that inspiration creativity further than I have. Also, for anyone wanting to send demos: Soundcloud links and playlists only, no Google Drives and – please! – send more than just one track. Lastly, I just want to send some love to everyone that has supported me and all the artist on the label during this last year, it means so much and sending some extra love to my agent, my mother and Gucci Mane for their endless inspiration.
我们的声音受到底特律电音和Kraftwerk的启发。我的建议是，对于很多通过我或我们正在推动的其他艺术家来发现电音的新的和年轻的制作人来说，应该更深入地看一看是什么启发了我们。我所做的一切都来自Kraftwerk、Drexciya、Juan Atkins、Dr. Dre、Depeche Mode、J. Dilla、Aphex Twin、New Order、Front242等等。这些都是激励过我的艺术家，也是我的旅程的重要组成部分，所以如果你也有我的感受，那么也许你能挖掘出与我产生共鸣的东西，并将这种灵感创意比我更进一步。另外，对于任何想要发送demo的人。Soundcloud链接和播放列表，不要用Google Drive和 – 拜托！- 请发送不止一首歌。最后，我只想向在过去一年里支持我和厂牌上所有艺人的人送上一些爱，这意味着很多，并向我的经纪人、我的母亲和Gucci Mane送上一些额外的爱，感谢他们无尽的灵感。
Interview 作者:Grzegorz Bacinski @eyes_dice
Translation 翻译: Emi & Joyce
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