Minnie Mouse Bowtique - All Bow Toons (4 HOURS Extended Version) - ENGLISH


4sq2 by rockallcity






So yeah tonight we’re at Beat Street Manchester at Brownsfield Mill. I’m here with the Club Clique DJs. Why don’t you introduce yourself to the listeners at home!

Damien Johnstone (D): We are a DJ duo and remix crew that started off in Manchester. We met on the internet and through a shared love of Chic, ZTT, Pet Shop Boys and MIA.  We went to a few gigs and stuff and we decided there wasn’t a club night around that was mixing electronic/upbeat/vocal stuff. The sort of place that we would like to go to have a really good night out with lots of people all dressed up and that type of thing. With that in mind we thought we’d set one up and we did. We’ve been running it now for 8 years and it’s done really well. People really liked it, we won awards and then we decided to move more into the remix arena about 3/4 years ago and that pretty much brings us up to today.

Yeah I listened to a couple of the remixes on your soundcloud today actually. Really great stuff.
D: Yeah we’ve done remixes for Lana Del Rey, St Etienne, La Roux (coming out in the next week or so). In total we’ve done 25 and the most famous ones seem to be the more pop-oriented ones. Tim Burgess, Sleigh Bells, Cat Power. Indie bands, pop bands.

When I think about Club Clique the first thing that comes to mind is your residency at The Mint Lounge. Is that still going?
D: Not anymore actually. We held the event at three different venues in Manchester but we didn’t want to sit in the same place anymore. You get used to it after a while and you want to challenge yourself and play to different crowds. We’ve played at quite a lot of festivals over the last 3 years and since we’ve been doing the remixes we’ve been asked to do things like Beat Street for example.  Local stuff, national stuff and every different kind of party you can imagine. We opened Creamfields with the Radio 1 Dance DJs about 2 summers ago. So yeah that’s the kind of thing we get asked to do now which is great.

What’s your set-up at home for doing these remixes?
D: The remix thing is done in John Tatlock’s (J) studio in Manchester and it’s a really good home set-up. People say you can record good remixes on the laptop or whatever but the things we like to do with our records which is record live instruments and get the atmosphere of a big room. For that you really need a proper studio. You can do stuff on the laptop but we just prefer not to.

Yeah can do way more with the studio and it just sounds better too!
D: It’s professional and yeah you get the full sound.

So you were saying you started by meeting up and finding a niche in Manchester. Why call it Club Clique to begin with?
D: One of the reasons is because it sounded a bit like chic haha.
Ian Jones (I): It’s a nice, encompassing and welcoming word.

One of the potential names for the company I want to start up is coterie. It means…
D: A small circle of people with the same interests. English degree coming in handy there. Hasn’t gone away haha.

You’re the first person who knew what it meant haha. So were you guys from Manchester originally then?
D: I was from Warrington in Liverpool.
I: Wigan. NW area really.
D: John was from St Helens.

'Basically we were guys from small towns in the Northern region with dreams of not being small town Northern guys but I guess you can’t escape that'

When I think of Club Clique I think of an indie , disco sound. Am I right in saying that?
D: Independent sound. Alternative disco. It was always very hard to describe. It still is really. Even our DJn style is hard to describe. We like house and disco as much as anyone else.  
J: Pop.
D: Yeah intelligent pop music. We supported Chic last year at their Manchester debut. It was nice to be asked.  It means we could do a 2.5 hour disco set and it seemed to go down very well.

Love a big of disco man. What are your favourite disco records?
D: What. EVER!?!

Like what’s the first thing that comes to mind when I say disco. You say…
I: Dimitri From Paris’s Chic remixes. It’s got to be that.
D: From the newer stuff yeah the Dimitri stuff is great. Haven’t You Heard by Patrice Rushen. If It counts then Why by Carly Simon.
I: I like a lot of 80s disco. So Bobby Orlando. The high edgy stuff. There’s this really obscure guy called Xanadu who’s really worth checking out. Making amazing 80’s disco stuff. Ah here he is. Ask John as well. He’s the music guy.

 We were just talking about favourite disco records.
J: Favourite disco record. Hmmm.

Also just for the listeners at home. You missed the start but yeah tell us a little bit about yourself.
J: I do various types of music production. With these guys I do a lot of remixing stuff, record a bunch of bands across Manchester doing this, that and the other. My favourite disco record is Teardrops by Womack and Womack.

Didn’t Bobby just die?
I: It was Cecil who died.
D: His brother.
J: The purists know this man haha!
I: What is your favourite disco record?

Hmmm that’s tough man. I can’t think of one right now but when I head back and write this up I’m going to go through my playlists and dig some real beauties out. They’re going to be the best fucking disco records ever haha. I have the worst memory for this shit. I can’t survive without a computer.

JD’s Top 10 (Not In Any Particular Order)
The SOS Band - Just Be Good To Me
D Train - You’re The One For Me
Jackie MooreThis Time Baby
Sister Sledge - Lost In Music (Nile Rodgers & Bernard Edwards Remix)
MACROSS 82-99 - Space Disco {82.99 FM}
Donna Summer - Hot Stuff
Parliament Funkadelic - Bring The Funk
Prince - Controversy
Gwen Guthrie - Ain’t Nothing Going On But The Rent
First Choice - Armed And Extremely Dangerous

I: John’s the Trevor Horn of Manchester.
I: You can’t mistake John’s production. Seriously. That’s why we got so good. His production is incredible.

What about the technical expertise?
D: 20 years of it.
I: Because we’re not musicians. We don’t know about chords and melodies and that but John really does. So we filter our ideas through John and he makes it happen.
J: Yeah I guess it’s a KLF kind of approach to record making.

Love 3am Eternal! I did an interview with Chris Coco recently and reviewed his Chill Out Album out now on Melodica Recordings. He noted KLF as a key influence.
J: They’re exactly what I really dig which is that they’re…they’re really kinda pop ya’know. They were very big records and had mainstream chart success. But they’re also very strange, peculiar and heavy whilst being completely accessible and I think that’s a brilliant thing.

Their sound is so…you could play that record now and it would still go off because it’s so…just something about it. It’s a real pioneering sound. When it first came out I can’t even imagine how people reacted.
D: Kids loved it. I was about 14/15 when those records came out. Just amazing.

So tell us a bit about what you’re working on right now.
D: We’ve just done a remix for La Roux, Bombay Bicycle Club, Charlotte OC, Alix Alvarez. We got asked to do a bunch of remixes by a big record label as we’d done some work for them in the past. They came back to us and asked if we’d like to do some remixes for other artists on their roster.
J: And Erasure.
D: Possibly other things in the pipeline. We were the first people to be asked to do an official remix for Lana Del Rey and eventually we did three for her. They just kept coming back again and again. Hopefully we’ll keep doing similar stuff like that.

Are you remixing La Roux’s recent release?
D: We’d like to but it’s quite slow. It’d be quite hard to make dance music out of it. We could do it. We’ve made dance music out of stranger things.
J: Yeah yeah hahaha!
D: I’m sure they’ll be in touch because they have been at regular intervals.

I look forward to hearing it! So it’s kinda Summer now. What you got planned?
D: We’ve been really busy over the last couple months doing these remixes. So we haven’t done as much on the festival side. We’ve got residencies around town which we won’t bore you with but loads of bars n that in the Northern Quarter. We like to DJ 3/4 times a week. And then we get to do stuff like this, festivals and clubs. We’re getting asked to do more because of the remixes. So we’re kind of at that point now where people are like oh those guys!

All about having music people can relate to. Once they can relate to you. Steam rollin’. So yeah what is it about Manchester that keeps you coming back time and time again? You said earlier that you’ve been running your events here for 8 years now!
D: I’ve lived here for almost 20 years. John’s lived here for 20…
J: Oh more than that haha.
D: From my point of view it’s probably the best city in Europe right now. It’s an exciting place. People are moving away from places like London because it’s smoggy, it’s overcrowded and it’s expensive. Manchester is the opposite and it has all the things you could get anywhere else like Berlin or Barcelona but in a smaller space. It’s like Sheffield crossed with Barcelona. Who wouldn’t want to live there? Haha.
I: It’s a down to earth city. You can’t be a prick or you’ll get shot down. That’s why I like it haha.

I’m from London myself. Been in Manchester 4 years now. Yeah it’s the best city on the planet. I graduated and was like I could move back to London…oORr I could stay in Manchester. I’m currently just living at my mates yard on his sofa haha.
D: It seems hard to make a living at the minute in London is what we keep hearing.

It’s just too expensive. Everyone heads to London because of all the big companies, graduate schemes etc. But once you take into account living expenses and stress it’s just not worth it in my opinion.
D: I mean we love London. I know John spends a lot of time there.
J: I think it’s that thing like if you ‘re not in one of the big money making trades it’s a very difficult place to get by in ya’know.

I mean I want to return there eventually but there’s just something about Manchester.
J: One of the things I think is very interesting is that London is becoming a real finance/business city and a lot of media is finally starting to move out. You’ve got the BBC up North now. Yeah the press/record industry is still concentrated there but the record industry isn’t what it was. Things are spreading out around the country I think so it’s less of a hub certainly if you’re in creative trades. It’s not as important to be there as it once was.

I agree fully. The whole industry really has changed. Every Tom, Dick and Harry is opening up a record label. It’s not hard. You open up a soundcloud. Get a crew of producers together. Hopefully somebody likes your sound. Information is cheap that’s the problem. Because it’s cheap it’s getting harder and harder to hold people’s attention.
J: There is an upside to that though. Like we did a remix for Dena who’s from Bulgaria and her record label guy is in Berlin. But you know via the miracle of email this is trivial to do ya’know what I mean. It was only 15 years ago that there would have been mailing of reels of tape back n forth. Absolute nightmare!

I was born in 1989 when the internet came out. The whole thing of records disseminating culture ya know like people looking at a record sleeve and being like this guys dressed like this I want to look like him. It’s funny to think how far we’ve come from that. Nowadays we’re just drowning in information, a never ending waterfall of shit. But as you say it has its advantages like as soon as you release something on soundcloud it’s being listened to by some fucking guy in Israel for example.
J: I do find that really exciting. I look at soundcloud stats. Most of our stuff is UK, Northern Europe and a couple of places in the US.
D: And Turkey haha!
J: Yeah you get these random things like you get certain tracks that are just wildly popular in Uzbekistan for no reason that you can fathom. I love that. I think it’s amazing.
D: It must have been on some internet radio show out there or something.
J: What was the thing with one of the Lana ones like a year after it had come out suddenly it became a massive hit in Argentina didn’t it. Not her version. Like our version. We only found that out because you look at the YouTube comments every so often and there was a fortnight of comments all in…well we didn’t even know initially haha.

You said you’ve had awards over the years. Give us some details.
D: Just sorta press stuff and people giving us things.

I remember you guys getting voted the best club night in the NW at Mint Lounge?
I: Best club night, best DJs. All legit man.
D: Lots of style mags and dance press basically which is a nice combination. The serious press and what people think as not so serious press, which is just as important. If the people who are liking clothes and sound are into it then smash the two things together and you’ve got chaos. However we’ve calmed down now and are spending more time making proper records.

I look forward to hearing more of your stuff in the upcoming months fo’sure. So yeah let’s have a think. Right so if you hadn’t gone into music what would you be doing right now?
J: Haha!
D: I’d be a full time dreamer.
J: A full time what.
D: A full time dreamer.
I/J: Haha!
D: Was thinking about the Spinal Tap quote.

I’ve had some funny responses to that question. I’ve had DJs in all seriousness being like ‘I’d be a doctor’. Haha.
D/I/J: Haha!
J: That’s like really hard work that ya’know. Haha.
D: There’s a fair bit of watch making going on I think with technical DJs. Not that I’d want to but yeah haha!

How about you guys?
I: Call centre.

Funny you mention that. I met Maxi Jazz from Faithless at The Warehouse Project one year and we got chatting back stage over table football. He worked at a call centre in Brixton and he had this moment in his life where he was now or never sort of thing. And yeah look at him now. He’s like a God lol.
I: Yeah it’s a kick up the arse.
D: A lot of people who were on Top Of The Pops or something similar to that not only had they just left that sort of job but they were probably still in that sort of job. I think the classic one is Orbital. He was working in a pizza place and he went on Top Of The Pops a few times and he just thought I should really knock this on the head now. He actually quite liked the job haha.
J: You mentioned Chuck Berry earlier and he kept on working as a barber until after his 3rd tour or something. He just assumed it was a flesh in the pan thing. So when he wasn’t on stage he was cutting hair haha!
D: The guy from R.E.M., Peter Buck, after their first 2 albums he went back to work at his local record shop because he liked working in it. Absolutely genuine story. The record store is called Wuxtry Records store in Athens, Georgia. They used to pay him in vinyl. He didn’t even get any money and he used to do it in his pyjamas.
J: Hahaha!
D: He’d have a jumper on and his pyjamas underneath (hysterical laughing) just the best way to live ever surely!

Reminds me of Moby. I think musicians in general are seriously unprofessional professionals.
D: To be honest people who’ve had a full time job seriously would make better people to be in a band with in a weird sort of way. Because the people who are just like children, who’ve never been in any real sort of situation where they’ve had a good bollocking. If you’ve never had a good bollocking what sort of person is that. You’re not going to learn anything from that person really. But if a person has had a shit boss, and knows what a shit boss is actually like, so they know how to be not like that, that’s just what you need sometimes. I see these American kids who get accused of being arrogant and they’re bound to be like that because nobody’s ever been like it’s 9’o’clock why weren’t you here or whatever!?

I think the best motivator is desperation. If you’re desperate and you haven’t got much money, and you’re like oh my God I really want to do something.  It forces you to do it! So yeah what’s been floating your boat recently. Record labels, producers, anyone you want to give some air time to?
J: You’ve been going on about Tensnake a lot haven’chya.
I: Yeah the new Tensnake album Glow is amazing. What else?
D: Loads of stuff. I still like a lot of bands like The Horrors, rock bands, dance bands, people like Dene and Alix just coming through. Just so much stuff when you go out and DJ. It’s hard because there’s a tonne of stuff. The Magician remixes he’s really great. He used to be in Aeroplane. Lana Del Rey stuff obviously. Loads of pop stuff, dance stuff, a bit of rock stuff. John’s got a really diverse taste that goes all over the place.

My tastes go from dubstep to fucking hardcore German techno. I think all DJs you just listen to everything ya’know.
J: The ones thing the three of us have in common is that none of us particularly become devoted fans of any one style, band or artist or whatever. We tend to like individual albums or records. DJn sensibility like that’s a good one I’ll remember that. So yeah it’s all over the place really.

For me it’s whatever comes through to my inbox, streams or happens to be in the record store at the time.
J: That’s the thing nowadays innit. You do discover stuff so much by people just going check this out…and you can immediately.

I’ve got to this stage now where it’s just impossible. You can’t even keep on top of it. Ok well there’s 1000 emails I haven’t read fuck those because they’re 2 weeks old.
J: Hurhurhur!

Ya’know what I mean.
D: Shall I try and get us some more beers from that guy?
I: Actually they ran out of beers. That’s why I got them ciders. Yeah try and blag some.

So that’ll give you two more chance to speak haha! So did you all come up together or was it you two and then John came later?
I:  It was me and Damien DJn. We started Clique. And then about 3 years ago we wanted to start making records and then here comes John.
J: They started Clique the club night at the same time as me and a friend started a club night in London. This was about 2005. I can’t remember exactly where but somehow I got chatting to Damien on some internet thing. I lived in Manchester at the time. I was like I live round the corner I’ll come along. So I went to the second or third night they did so I’ve kinda known them since then. And then it sorta came up that you wanted to dabble in remixing and you’d done a couple of things with Dom a mate of yours. I was a mix engineer and stuff so I was like if you’ve got something I can help you mix it. We started out there really ya’know.

What was your night in London out of interest?
J: It was called Big Sexy Land.

Big Sexy Land. Well that’s memorable.
J: We thought it was really clever because it’s the name of an album by a post-punk band called Revolving Cocks but it also sounded Disco. So we thought it was a clever reference.

It’s a very disco sounding name. If you said to me now that I’m going to a night called Big Sexy Land I would think totally disco, love vibes.
J: Yeah exactly. So we thought some people would get the reference it’s really, really clever. Obviously nobody got it and one night we were in there setting up and there was a really angry German man in the corner just staring at us. We were thinking what’s going on? Eventually he came over and went, ‘when do the girls arrive!?’. I was like, ‘what are you talkin’ about?’ and he huffed off. And we discovered that Big Sexy Land, where the Revolving Cocks got their name from, is like a Stringfellows type chain in Germany of really, really low rent strip bars ya’know. So yeah that’s what we accidentally called ourselves. So yeah I did that for a while. One of the big features of our club night was that we did a lot of bootlegs, our own edits and special versions of things so yeah it kinda naturally came up that I guess I’d been remixing in a kind of unofficial, amateur bootleg kinda way and so had you and we both, at the same point, wanted to start doing it more properly.
I: And it took off big time.

How many releases have you guys had?
J: We were actually trying to work this out the other day. I think we’ve made…
I: Damien said about 25.
J: I think we’ve made about 25 and we’ve got about 5 or 6 that are still in the can somewhere.
I: We’ve got about 20 out there. They’ve all been on Hype Machine. About 4 have got to Top 10 on Hype and out of those 2 got to number 1 or 2 in the charts. So yeah it’s a good strike rate for a relatively new act.

Getting to number one in whatever genre on Hype Machine is a big accolade. Something for your CV that haha.
J: I was so excited. Do you remember I was sat up in bed with my iPad pressing refresh.

J: Because I knew it was going to get to the highest it was going to get to at 3am in the morning. And yeah when it got to number 1 I was like fuck yeah it got there right now I can go to sleep!
I: We’ve started producing for acts as well. We got a guy who’s a really great singer. A Justin Timberlake kind of guy from Manchester. Started producing him, making songs with him. That’s the next level really.
J: We want to get into making original stuff.
I: Actual production.

What’s his name?
I: Dean Mac. He is a fucking dude. A proper dude. Fucking brilliant.
J: Really good singer. That thing that you don’t really get with a lot of British male singers. He’s a proper dancer. A real showbiz kind of performer ya’know. That should be really interesting. Very much in the mainstream pop area.
I: But cool pop like Justin Timberlake smart. He’s phenomenal man.

Mate JT. I mean how many remixes did Suit and Tie have? Haha. Ya’know what I mean. I had a question in my mind but I lost track of it. We were saying about artists and record labels you’d been listening to recently. Damien answered most of them. How about you guys?
J: Ok. I have a funny thing about music because now everything is streamable. So I have whole phases where I’m listening to a lot of stuff that’s new to me but not necessarily new right ya’know. So I might have a whole month of my life where I’m listening to shit from 20 years ago or something. I have really enjoyed recently tUnE-yArDs. Her new album Nikki Nack is amazing. American artist. Really eccentric kind of stuff but I think that’s brilliant. What do I like that’s new? To be honest you’ve caught us at a funny time. For the last 3 weeks we’ve not really had a chance to listen to anything else other than these songs we’ve been making over and over haha! 

When I’m actually working working. When I have to write stuff up the inbox is shut. Maybe 4/5 days and I’ll open it up and there’ll be 600 emails or whatever. Just like fucking hell. Anyways I know what you mean. You have to close everything off when you’re focusing on one project.
J: What else have I been listening to? Trying to think. Trying to think.
D: It’s hard to think ya’know. Once you get to a certain point as well. With production you like listening to stuff you find comforting in a sense. It’s not all about the new stuff. Because you’ve been working on a lot of new songs.
J: I remember when we finally finished Big Sexy Land after 4 years of having to be up to the minute with electro, poppy, technoey stuff I just listened to Johnny Cash for a month haha! I just couldn’t deal with anything else ya’know haha.
D: It’s like when we were doing Clique. I remember once we went to someone’s do and you made a CD/mix/playlist of 50s doo wop and girl groups. It was a long playlist and none of it bore any resemblance to anything that we’d ever played. At the same time I was listening to like Nirvana, The Cure, PJ Harvey so weird.

I know what you mean though going back to roots and all that. I’m going through a massive old school hip hop phase. 88-93. The golden era. Like I’m always sample hunting. When I’m internet digging I’ll hear something whether it’s a vocal or a sound snippet and be like…
I: Do you make music yourself?

I’m long term so not yet being honest but it’s something that…it’s all in my mind. In my mind I’ve been planning kinda what I’m doing now for like 2/3 years I’d say. Doing it seriously though. I mean I’ve always been into music ya’know what I mean. The last 2/3 years I’ve been really thinking about songs I’d like to take snippets out of, rework, and sometimes it’ll literally be just one sound, like a 10 second bit.
D: Which songs have you come up with?

I’ve got a playlist on my YouTube channel and it’s all songs I’d like to remix. About 50 on there atm.
D: You find once you do it more you get that thing where you can’t switch it off. I’m presuming you never can. You go oh wow go check that out. Yeah that is something that would be good to do, or steal, or sample, or rip off haha. It’s crazy.

Music is constantly evolving ya’know. Everything from…apart from reggae which is its own thing and is always going to be its own thing. But like everything else stemmed from blues/soul music. And over time it just changed with culture. I think it’s very hard these days to have anything really truly original because everyone is influenced by stuff. Whereas back in the day, before the internet, and before you could just listen to any track on the planet, everything was either you heard it at a live gig or it was like ya’know what I mean. It’s very hard to be original.
J: I tell ya what. I think that’s probably as hard as it ever was. What I think though it’s hard to be unfamiliar. Dya know what I mean. It’s like 20 years ago you might have been able to be making something that’s in an area that most people didn’t know. And that’s really hard now because everyone can look everything up immediately. Anything you hear you can always find out who they’ve ripped off. mate. That website I’ve constructively wasted months of my life on haha.
J: I don’t think great stuff comes from someone going boom and having a magic unique idea. I think everyone’s always kind of feeding off each other’s things.
D: The best quote about that is Elvis Costello’s quote. Not a big fan of his but he said that

'Some of the greatest art/music is someone trying to rip someone else off but getting it slightly wrong. Once you know that that’s true it’s a brilliant thing because you know that you can aim for something as close as you can, you still won’t get there, but that might be to somebody more interesting. It’s a brilliant way of looking at things'

It reminds me of scientific discoveries. Like a lot of scientific discoveries were found by mistake.
D: Yeah some guys on a spiral staircase discovered DNA!
J: Science isn’t mainly someone going eureka, science is mostly someone going ooohhh haha!
D: It’s kinda easier than they thought.

You never know what’s going to come up. That’s what I love about science. Like I’m from a scientific background. Just finished my Pharmacology degree. You’ll do like a Western Blot and then you’ll be like that shouldn’t be overexpressing but it is. What is that telling us? Ya know what I mean. Albert Einstein’s quote was

'Intelligence is creativity having fun. I guess you could apply that to quite a lot of things I suppose.'

J: So you did Pharmacology?

Yeah yeah. I’m meant to be getting a real job according to my parents but erm…we’ll see what happens.
J: That’s the kind of area of study that leads into a real job. That’s really hard work haha!

That’s the thing. Like I’m in the middle of setting up this company at the moment. And I just thought it’s now or never. I was like I’ve got loads of time on my hands now I’ve graduated. And I’ve got to do something. Don’t have any labs, seminars, lectures. If I’m going to do it now I’m going to fucking go for it. That’s my reasoning I suppose.
J:   Good luck. Fortune favours the bold I always say.

You know you just get to this point where you just feel like you’re ready. You’ve built up your network, the knowledge or whatever it is and you think to yourself I could do this differently or better than the people I work for and when you get to that stage and you’re like hearing things or seeing/watching things before it hits the news/public. When you feel like you’re one step ahead of the game that’s how I feel. That’s the time to go for it. I mean it’s not hard to start a company. You need a bit of legal stuff. Companies House registration, bit of trademarking, annual accounts. Anyways we’ll see what happens with that. So we’ve covered quite a lot of things. We’ve talked about your productions/remixes, your influences, where you’re hitting up, things you’ve been listening to recently, talked a bit about Club Clique and Big Sexy Land’s history, is there anything else I’ve missed or you want to cover?
D: Not particularly.
J: Go on. What’s your message to the world?

Anthing that’s annoying you at the moment?
D: I don’t know if now is the time to bore people haha!

You can vent out. Are there any producers you really hate right now?
D: Oh no. I can’t think of any.
J: I was very struck by this the other day. I was in a studio in Liverpool working on this project for the Arts Council UK and whenever I went out to have a cigarette…I am working on this crazy fucking thing. Loads of atonal, weird, crazy art shit. Anyways I went outside and there was a producer there. This guy was from Nashville working on a country album being made for an American Idol winner. I can’t imagine a form of music that I’m less interested in. I popped it in for a cup of tea with them and I hated it as a musical thing but this guy, the producer, I fucking loved this guy. We spent all the time when we were having breaks talking about how to make records. Whether I like what they’re doing or not I think people who make records are interesting to me and I quite dig it. I’d like to know like how do you do that thing even if I hate this record there’s this little thing that is amazing and I want to know about that. I like musicians, record people and DJs by default really.

What’s your process in the studio? It seems like you’re the main producer behind the remixes?
J: It depends how you define these roles. I mean, so there’s engineering and then there’s producing. Engineering is the technical aspect and I think producing is the what should this sound like and where are we aiming for. I would say in terms of production in that sense we work as a team collaboratively ya’know what I mean. I’m the nob twiddler guy.

So you’re the science?
J: I mean in many ways it’s the least important bit. You need to have someone who does it.

You can always tell the difference though. When you listen to a track that’s been mastered and listen to a track that is just raw there’s a significant difference.
J: It’s good to do it properly but ya’know.

'The difference between a film director and a camera-man dya know what I mean. No-one thinks that being a film director isn’t a skill but loads of great film directors wouldn’t make good camera-men'

So in terms of the actual production and working out what this record is and stuff that’s an equal share. But yeah I do some nob twiddling.
D: The competition is always equal I guess.
J: Certainly. I think we do approach it very…everyone’s input is treated with equal validity ya’know so.
D: Again it’s that thing where. To quote a comedy reference the Monty Python thing which if you think about the most famous comedy sketch in British history which is the Dead Parrot Sketch. Originally it was going to be a toaster and someone was going to switch it off and they went with that for a while. One of them came up with that. Then another thought well what if it’s broken and they though ah yeah that’s alright. Then another thought hang on a minute what if it’s a dead something and they went alright then it’s a pet shop. Then the other went it’s a dead dog. They ran with that for a while. Then the other went it’s a budgie and eventually a parrot. And by the end of that process where they had written the most famous comedy sketch in British history but they couldn’t for the life of them remember which person came up with which bit. If you were then to divide it up well you came up with the idea but what is the idea? The dog, the pet shop, the fact that something was broken and being brought back it was literally impossible. You couldn’t pick it apart even if you tried mathematically it would be ludicrous.

You have like an end goal but the process is hard to define.
D: But you don’t even know what that is either most of the time!
J: It’s very interesting I mean what we do a lot of before we even turn the computer on is playing records and talking ya’know. Like what’s your idea for this? Have you heard this? Not necessarily to steal ideas but in my head it’s somewhere in between this and this etc. That’s what we did at our last session. We got together and started drinking and talked about them for like 5 hours. And then after that I was like right that’s that see you next week. So already at that point you really don’t know who’s idea is this!

The creative process. I love the creative process.
J: It’s a bit mysterious.

It’s the best bit really.
D: That’s what’s fun about it.

Everyone…I mean all producers get to the track eventually but it’s that process of getting to the track. That’s the fun bit.
J: One of our things.

'We like to work very fast whenever we can and not get bogged down. Not in any way to skive off or to be lazy but you’ve settled on something, you’ve got an idea that everyone’s going yes to, but can you get to the end before you get bored of it'

D: That’s a very good point. And when we’ve got bogged down it’s because we can’t get to the end fast enough haha!
J: And that’s how you know it’s not a good one ya’know.
D: No amount of glitter you throw at it is going to turn it. There’s not many of those but yeah.

When you get excited that’s the best bit. When you feel like you’re onto something you’re like ouuuu.
J: Totally. I’ve got to smoke. I’ll be right back.

Shall we wrap it up there? Is there anything else you wanna chat about? You good?
D/I: Not really.

Right we’ll end on a random question. What’s your favourite vice apart from music?
I: Grape flavoured e-cigs. Dya wanna go?

Go on then.
D: Do you smoke?

Yeah of course. I do everything.
I: Haha. Of course you do.
D: Course you do.
I: It’s a nice vice. Relatively harmless so I like it.

Very nice flavour. I’ve got some good…I’ll show you some stuff I’ve got in a minute. But anyway errr…
I: Huh?
D: What?

What’s your vice?
D: I don’t have any anymore.
I: Sugar in your tea.

100% music all day.
D: Oh yeah. Had to cut everything out.

What’s your favourite food?
D: I don’t really know. Not really big into it. Had something here which if I had the name of the company I’d promote it for them.

Was it Solita?
D: African vegetarian curry. Just one of the nicest things we’ve ever tasted. So yeah whoever the African curry company were, were incredible.

Cheers guys. It’s been good. Say bye!
D/I: See ya!

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Interview by Joseph Dent

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Something to help the morning.


Something to help the morning.

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Opened up for this babe tonight. Looool

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