[021 BulletCast] DESIGNERZ La Rumba Mix

[021 BulletCast] DESIGNERZ La Rumba Mix

Joining us on episode [021 BulletCast] is the producer duo, DESIGNERZ. Through this fully audio podcast, they tell us how Dropbox allows them to create music from different states and about Stefano Noferini recently supporting their upcoming EP, La Rumba

[09 BULLETCAST] Miyagi Guest Mix

[09 BULLETCAST] Miyagi Guest Mix

We present to you Miyagi for our 9th installment of BULLETCAST. Sit back and enjoy the melody of this exclusive mix.

David Gtronic: Atlanta Welcomes a True Talent

It's the beginning of the weekend, and even though Shaky Knees has used up some of the city's energy, the house and techno community of Atlanta still manages to keep it moving late into the night. Early on at the Alley Cat Music Club, support from Koba and Attila stirs upstairs. More and more people, building up an initially intimate crowd, which sets things off to a nice start. David Gtronic begins his set around 1:00 a.m. firmly grounded in house.

Immediately, there is a definite jump in level of complexity and intensity. Hard, round bass and fat, cutting hi-hats are still bouncy somehow. This, coupled with lots of spacey tech sounds and an often swinging feel, fuels the feet and delights the imagination, an impressive balance to strike, no doubt. Bringing things back down to earth for a bit and then building back up with a harder approach to techno, he finishes the night out strong.

Before his set, David agreed to speak with us about his life in the world of dance music.

You recently played New York and Miami back to back. How were your experiences there?

New York for me is one of the most special cities. I really love the fast-paced lifestyle of the city. There’s so much diversity and different styles of music. I really like the Brooklyn scene. You get a lot of underground warehouse parties. New York and Miami are the two key cities in the United States to come and play. I do it every chance I get to. Miami is always special because I grew up there. Every time I play in Miami, and this is the third time I’ve done it, I do open to close sets. I start at 11 p.m. and end at 5 a.m. It’s really nice, because (I see) people that I grew up with in high school come, who I haven’t seen in five years. It’s nice that they come to support me. I’ve always gotten a lot of really good support from Miami, so it’s always really special for me to play there.

What event do you consider the most pivotal in launching your career as a dj/producer?

I wouldn’t say an event, but when I made the move from America to Ibiza in 2013, it changed everything for me. I already had my name growing slowly from releasing music, and I was lucky enough to get support from some of the big guys like Marco Carola, Loco Dice and Dubfire. All these guys were playing my music in 2011 and 2012, before I really had a chance to get out there. In 2013, I finished my sound engineering degree and moved to Ibiza. I just bought a one way flight thinking that I was gonna come back at the end of the season. I met so many people. I ended up living in Berlin. I never came back home, technically. Just to visit.

Of all your various residencies, which has been your favorite and why?

Right now I’m with the Vatos Locos crew, which is Hector, my friends from back home, Randall M, Chad Andrews, my roommate in Berlin, Sece. It started last year, but this summer it’s kicking off a little more. We’re doing a residency in Club Der Visionaere. We have one party each month for the next four months. This place is, I will say, one of my favorites in the world. Some people will laugh at me because it’s a small bar for 150 people, but the vibe that it creates is just incredible. People go there on a nice summer day, have a beer, hangout with their friends, and maybe go to panorama bar after. If you really want to keep partying there you can. Ricardo Villalobos plays there every other month. It’s a special place where people want to come and play. It’s not about the money or anything. People actually pay their own flights to come and play at this place. Have you seen it before?  It’s just next to a river and in the summer it’s beautiful.

The Terrace Podcast has over a million downloads. What do you attribute this success to?

It’s funny. I started this podcast when I was sixteen. Back in the day, I used to listen to Tiesto’s podcast. I listened to it every week so I could see how he presented the podcast. I wanted to do something like this. Growing up in Miami, you can’t go out to clubs until you are 21. I managed to get a fake I.D. when I was 16. I was going to the terrace in Space and I was obsessed with this music and the after hours. That’s why I named my podcast the Terrace Podcast to resemble after-hours music and underground music. The funny thing was, people started thinking that it was the official podcast from Space’s terrace. I got a lot of traffic from that, but eventually they realized that it had nothing to do with Space. They liked what they heard, so they kept listening and more people came.

The great thing about it is I never put any marketing behind it. I never promoted it, and I don’t post about it. I just create the podcast, make the artwork, release it and it just promotes itself. It’s a really cool project. I personally like to think about it as my little musical diary. I love collecting a lot of music, even though I don’t get to play more than half of it. When you come to play in the United States you have to bring something stronger. They are not too open for these weird minimal sounds, but in the podcast I get to do this and express myself in another way that I couldn’t do in the club. That’s what I like about it the most.

Your collaboration with Lilith, Lagrimas Del Sol, reached new heights of musical sophistication. What was your inspiration behind this work?

The title of the EP, Lagrimas Del Sol, means tears on the sun. This was during a really hard period for me economically wise. I was going to school, and I had to choose between working and having some money, or just going to school full-time and making my music on the side. I chose making my music on the side. A lot of the times I was without money and it was very difficult

I met Lilith. She had released under Monique Musique, which is a label that I worked with before.  I started messaging her, saying I really like her music. We met and had a Skype conversation for five hours. We decided to try some music together. She is the same as me in that she is very sensitive and expresses her emotions through music. We didn’t really have a plan, but we wanted to combine, I wouldn’t say classical music, but something like that with techno. She had a friend from Amsterdam who plays the cello amazingly. She recorded a bunch of cello recordings and we had a few piano recordings, and there’s also one track where we have a tango. We grabbed little elements from normal music that we liked, and made it into a techno production.

Do you foresee creating more techno session musicians?

Yes, for sure. I actually have a new record with Lilith coming out that’s called Cello and it’s a twelve minute track with a cello throughout the whole track. This was the first track I made when I arrived in Berlin. It always reminds me of that moment when I was struggling to make the transition to a new city. We definitely will do that more. I love classical music. When I travel, that’s all I listen to - the piano, Eric Satie, Beethoven. I love really abstract piano sessions. I definitely want to keep doing that in the future.

What do you enjoy most about performing at tINI & the Gang, Ibiza?

I haven’t worked with her for the last year or two, but when I did, the most magical thing was being on the beach in Ibiza with all your friends and watching the sunset in front of you. I remember the last time I played was back to back with Chad Andrews. We played right before tINI, so we had the sunset set, and the sunset was directly ahead of us. We were playing and the people were screaming and dancing, watching the sun go down. It was really a special gig. Even Resident Advisor wrote an article about it. That’s the most special part about tINI & the Gang. It’s a free party. People don’t have to worry about paying 40 to 60 euros like they do at Amnesia. You already come with a chill state of mind – have some beers, hang out on the beach with your friends. listen to good music and to new upcoming artists you’ve never heard of before. That’s the good thing about tINI. She always gives new DJs a chance to come and play. That’s something you need to do for the newer generation. You can’t be so egocentric. You have to open the platform for new guys and give them an opportunity. Just how she and I got an opportunity. It’s important to do that.

What are you most looking forward to in the near future?

I’ve never been that type of guy to plan ahead, but I’m really excited for this season in Ibiza. I want to focus more on studio work, and every time I go to Ibiza it’s impossible to get work done out there. One time I even brought my equipment and everything and I didn’t even use it one time. I already know when I go to Ibiza I do some networking, a little partying, a little raving, but I can’t make music over there. This summer I want to focus, staying in Berlin working in the studio not getting distracted that much. I’ll spend June and September in Ibiza like I usually do, but take July to focus in the studio. I’ll be coming back to America at the end of July for one week, and maybe do a gig in New York and L. A. and Denver, and then back to Europe for the rest of the summer.

[Interview] SIAN chats about style, influences and his success.

SIAN calls his sound “classic modern techno.” The boss of well-known Octopus Recordings, his experimental style and ambitious musical vision have earned him a place high in the ranks of the current techno audience. 

We talked with SIAN earlier this week about his style, influences and the incredible success of his label. 

You were born in Dublin and have spent a lot of time in both Spain and France. Tell me about your time in the U.S. What was your initial impression of the music scene here and how has it influenced your sound? 

I think it’s really healthy. I think it’s getting better and better every year. Maybe because there’s  a ton of new fans coming into the scene. Maybe they access it through EDM or post-EDM. It seems like there’s a lot of new blood and new life being injected into the scene.
The music you create is incredibly diverse, ranging from the happy bouncy sounds of glitch hop to the darker tones, with a myriad of sounds in between. Is this diversity a reflection of your personality and life experience? 

To be honest, I play two types of techno. I play a little bit lighter more groovy based stuff, and then maybe one or two tracks in the night would be heavier, darker techno. I think that’s pretty much the spectrum that I go from, all including those sounds. My favorite type of music is new techno. It’s what the label is all about, kind of futuristic or forward-looking techno. 

In an article for Thump you mention a “classical education.” What did you mean by that? 

I went to some pretty interesting schools. Nine in total. I studied a wide range of subjects, I actually went on to study biology for a short period after school. It didn’t last long, but it was a good entry into a lot of different interests in science. I still try to learn and keep up-to-date with developments in science and the technological side of it is a big influence in my music for sure. 

You wanted your label Octopus to be an outlet for unique styles that weren’t being represented in the industry. Do you feel you have succeeded in this? 

Yeah, I think so. We are one of the top five selling techno labels in the world, so I think we’ve got a niche and people seem to respond to the sound that we put out. I’m proud of it. It’s kind of my baby in a way. 

What are the new goals for the label? 

We are taking the label parties up a notch, we are doing some pretty big shows like Movement, we’re always at BPM, Sonar, Miami. We are trying to expand the label brand in that way, that it becomes a recognizable label showcase at all the big events.

You’ve spoken about “getting people to think” with your music. What do you mean by this? What are you trying to inspire in them exactly? 

I think it’s important, even if you are releasing dance floor music that’s hedonistic or for parties, that it has an intelligence or a type of subversiveness to it. A bit of art in there to try and point people in a different direction. Like using experimental sounds in accessible music to make people think more. 

Have you found the freedom you were looking for?

Yes, absolutely. It’s my label, we can put out things that we think are interesting and not have to worry about getting approval from the established structure of a company.

How do you build your songs? 

I’m kind of different than most people. I start with a synth sound or a more melodic thing or something that was musical before I would go to percussion or drums. Most people start with drums and build a groove then put melodies or sounds on top of that. Putting the music first just comes naturally to me. 

I grew up listening to anything electronic. I listened to the 80s disco and electro pop stuff on the radio in Spain. I was really interested in early breakdance, or hip-hop especially, things that were made with machines and synthesizers. I loved a lot of the early (American) hip-hop like Lembata and the kind of wild breakdance music that came of the states. 

 Are you excited about the show in Atlanta on Saturday?  
Always! The first time I played here was this kind of warehouse thing with Dee Washington and a few others. I love it (the south), it’s really nice, good food too. 


Check out Bleu Detroit, the Octopus Recordings official Movement after party on May 28 and keep an eye out for SIAN’s new single that he will be releasing on June 13. 

Sian stops in ATL on May 14 as part of his world tour to play at Alley Cat Music Club. 

Click here for more information and to purchase tickets.

[Interview] Layton Giordani: Setting the bar high for the future generations of techno.

His second time in Atlanta, this young artist has already made a huge impression on the techno world. With the release of his track, "Careless Suggestions," through Phobiq records, to being immediately picked up by the likes of Deadmau5 and Pan-Pot, Layton has set the bar high for the younger generation of upcoming artists. Sitting down with Layton Giordani and talking, I picked up on how humble and appreciative he is of all the support has has received from the music community.

Despite the unpredictable Atlanta weather, one second sunny, the next Niagra Falls dumping from the sky, there was a good turn out at The Music Room for the techno lovers. We danced until our soaked clothes were dry again, no longer caring about soaked socks and hair. I welcome you to enjoy the experiences and upcoming projects Layton shared with me.

What were your teenage years like, growing up in NYC and so heavily immersed house and techno?

I would say my teenage years were instead of working on sports like every other kid, and doing good in school, I focused more on going to clubs, listening to people like Danny Tenaglia and Victor Calderone. I wasn’t trying to get into Pacha or Cielo, sneaking my way in whatever way I could get in. Instead, I would probably be at home working on music.

Can you tell me about the production of “Careless Suggestions” and how it came about to be released on Phobiq Records and the fame it instantly received?

That’s actually the first song Tony Rohr and I worked on. I didn’t know Tony too much before then, we were introduced by a mutual friend. He was a little hesitant to get in the studio with me because he knew I was doing my own thing. I was more of a beginner and, he was a seasoned veteran. We got into the studio together and I showed him this project I was working on. I’d say it was about 50 or 60 percent done and he said, ‘Oh, this is the track we can work on.' We worked on the track, we finished it, and he wanted to give it to Sasha Carassi. Sasha takes it. Then as soon as it came out everyone was playing it, every big DJ you can think of. And I didn’t expect it, it gave me my whole kick start to my career.

Do you ever feel that being younger than many of your peers, that you are held to different expectations?

No, I think the exact opposite. I think the older veterans and the older generation like to see people like me come out at such a young age. It shows that the future of this music is in good hands. I don't think they’ll look at me as some young guy, but rather they like it and encourage it. It reminds them of themselves, of something positive.

Can you tell us what we can expect from your upcoming EP, Unspoken, to be released on Adam Beyer’s label, Truesoul?

Not many people know this yet, but I am also doing something for Drumcode this summer. But it’s going to be a three track EP for Truesoul. Those tracks were my most heavily influenced from Adam Beyer. A lot of his music was reaching out to me, so I would go into the studio and make that kind of sound. And I think that the combination that he and I both have that go well together is that we both like the harder edge stuff, be we still like to keep it musical. I put a lot of work into that EP making it musical, hard and groovy at the same time.


You clearly find your home and comfort spot in the studio producing. What is your headspace like when you are in there producing music?

I guess it’s what I’m feeling at the moment. If I come back from a show and I have that vibe from the night before, the next time I’m in the studio I’ll make something dark. Or it could just be day-to-day inspirations, like being with your family or going to another show and watching someone else perform. I go in there, and I don't have a mind set, I just kind of go with the flow and what comes out, comes out.

What equipment are you using in your studio?

I've used a lot of stuff, but I would say the thing that Tony has taught me is using old school stuff like Nord. I wouldn’t say I’m using a lot of hardware nowadays, I would say I find more of my music coming out of just sitting on a laptop. I think technology nowadays is so intricate that you don't have to {use all the bells and whistles}. Just sit on the computer, get a good riff, good bass lines, make it all come together. That's what I think the future is now.

Now that you have been very successfully producing for a few years, do you have an overall vision of how you want your sound to evolve?

Yes. I have a new vision of this everyday. {Laughs} Right now I kinda of want to keep it where I can satisfy everybody, and satisfy myself. Me, I love musical stuff. I like to keep it fun and positive, but at the same time I want to keep it heavy. I want to find a median where it’s heavy, but also light and musical. That’s why Drumcode, ya know? He has that median. That is what I am striving for, to find the median where everybody is happy, including me.