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post Mar 20 2009, 13:15
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Welcome to Adam Beyer's Drumcode Records, parent label of Truesoul, Code Red and Mad Eye.

wiki c/p: Drumcode Records is a Swedish techno label founded and managed by Adam Beyer. The first record was released in 1996 and since then the label has featured mostly Swedish producers. For a period Drumcode also had a sublabel named Code Red, but it was discontinued in 1999 after just ten releases.

- uglavnom jedan label koji jako cijenim, ono, od uvijek, otkad znam za njega.. par stvari sto su izasle tu su obiljezile moje rejversko postojanje kao npr. Hardcell & Grindvik Gainlane i Beyerov Remainings .. ima tu naravno svega, malo vise kvalitetnog i malo manje ali u globalu govoreci, jedan super respektabilan tehno lejbl smile.gif
mnogi mocnici izdavali su stvari na ovome lejblu.. evo ih par: Hardcell & Grindvik, Cari Lekebusch, Thomas Krome, Oliver Ho, Henrik B ... and many many more.
uglavnom relativno prepoznatljiv sound .. ko voli voli, ko ne voli jbg.
evo malo tu i down.a za one koji se nisu do sad imali prilike upoznati sa doticnom produkcijom..

DC01 Adam Beyer & Lenk Drumcode 01 (12")
DC02 Adam Beyer Compressed (12")
DC03 RND Codebase (12")
DC03 RND Codebase (12", W/Lbl)
DC05 Adam Beyer Tasty Bits (2x12")
DC05 Adam Beyer Tasty Bits (2x12", W/Lbl)
DC04 Cari Lekebusch Råhångel Me´ (12")
DC06 Adam Beyer & Thomas Krome Nutcrusch (12")
DC06 Adam Beyer & Thomas Krome Nutcrusch (12", W/Lbl)
DC07 Beast Tamer Volume 1 (12")
DC07 Beast Tamer Volume 1 (12", W/Lbl)
DC08 Oliver Ho Chasm EP (12", EP, RE)
DC08 Oliver Ho Chasm EP (12", EP)
DC08 Oliver Ho Chasm EP (12", W/Lbl)
DC09 Adam Beyer Drumcode 09 (12")
DC10 Cari Lekebusch Vänsterprassel Me´ (12")
DC11 C & G Southsystem Drumcode 11 (12")
DC12 Adam Beyer Crispy Bits (2x12", Album)
DC13 Marco Carola & Adam Beyer Drumcode 13 (12")
DC14 Safety Session Crescendo (12")
DC15A Adam Beyer / Cari Lekebusch Split EP (12", EP)
DC15A Beyer* vs. Lekebusch* Untitled EP - Drumcodes vs. Hybrid (12", EP, W/Lbl, Promo)
DC15B Adam Beyer / Cari Lekebusch Split EP Remixes (12")
DC16 Adam Beyer & Marco Carola* Drumcode 16 (12")
DC16 Marco Carola & Adam Beyer Drumcode 16 (12", W/Lbl)
DC17 Adam Beyer Character EP (12", EP)
DC17 Adam Beyer Character EP (12", W/Lbl, EP)
DC18 Adam Beyer Short Life EP (12", EP)
DCCD01 Adam Beyer Protechtion (CD, Album, Dig)
DCLP01 Adam Beyer Protechtion (2xLP, Album)
DC19 Gaetano Parisio 19-99 (12")
DC20 Adam Beyer Remainings III (2x12")
DC20,5 Adam Beyer Remainings III Ltd (12", Ltd)
DC21,5 Adam Beyer The Time Ltd (12", Ltd)
DC21 Adam Beyer The Time (12")
DC22 Henrik B Recollections (12")
DC22,5 Henrik B Recollections Ltd (12")
DC23 Safety Session Maru Part 1 (12")
DC23,5 Safety Session Maru Part 1 Ltd (12")
DC24 Fredrick Almquist Being And Becoming (12")
DC24,5 Fredrick Almquist Being And Becoming Ltd (12")
DC25 Adam Beyer & Henrik B Sound Identification (2xLP)
DC25,5A Adam Beyer & Henrik B Sound Identification Ltd (12")
DC25,5B Adam Beyer & Henrik B Sound Identification Ltd (12")
DC26 DJ Lenk* 142 (12")
DC26,5 DJ Lenk* 142 Ltd (12")
DC27 Various Swedish Steel E.P. (12", EP)
DC GAIN 01 Hardcell & Grindvik* Gainlane Part 1 (12" + Box)
DC GAIN 01 Hardcell & Grindvik* Gainlane Part 1 (12", Promo, W/Lbl)
DC GAIN 02 Hardcell & Grindvik* Gainlane Part 2 (12")
DC GAIN 03 Hardcell & Grindvik* Gainlane Part 3 (12")
DC GAIN 04 Hardcell & Grindvik* Gainlane Part 4 (12")
DC GAIN 05 Hardcell & Grindvik* Gainlane Part 5 (12")
DC27,5 Hertz / Adam Beyer & Henrik B Swedish Steel Ltd (12")
DC28 Patrik Skoog Desolation EP (12", EP)
DC28,5 Patrik Skoog Desolation Ltd (12")
DC GAIN 06 Hardcell & Grindvik* Gainlane Part 6 (12")
DC10Years Various Swedish Silver - 10 Years Of Drumcode (2xLP)
DC29 Hardcell DC29 (12")
DC30 Mighty Thor DC30 (12")
DC31 Pär Grindvik I Want You (12")
DC GAIN 07 Hardcell & Grindvik* Gainlane Part 7 (12")
DC32 Perc Sticklebrick (12")
DC33 Hardcell The Continuity Approach EP (12", EP)
DC34 Adam Beyer Swedish Silver Rmx (12")
DC35 Ortin Cam Panic At The Disco (12")
DC35 Ortin Cam Panic At The Disco (File, MP3)
DC36 Pär Grindvik Do Us Apart (Remixes) (12", W/Lbl, Promo)
DC36 Pär Grindvik Do Us Part Remixes (12")
DC37 Kyle Geiger Under Pressure (12")
DC37 Kyle Geiger Under Pressure (File, MP3, 320)
DC38 Raudive Resistor EP (12", EP)
DC39 Patrik Skoog The Good Machine (12")
DC40 Ortin Cam Warped Love / Omerta (12")
DC41 Christian Smith & John Selway Total Departure (12")
DC41.5 Christian Smith & John Selway Total Departure (Nihad Tule Remix) (12", S/Sided, Pic)
DC42 Kyle Geiger Identity Crisis (12")
DC43 Museum (2) She Was Asking For It (12")
DC44 Marco Bailey & Tom Hades Freaks / Glides (12")
DC45 Dustin Zahn Moving The Chains (12")
DC46 Advent, The vs. Industrialyzer Duality (12")
DC46.5 Advent, The vs Industrialyzer Solitude (12")

part 1: http://lix.in/-44a6fb
part 2: http://lix.in/-47b43d
part 3: http://lix.in/-493ade
part 4: http://lix.in/-3d05e0
part 5: http://lix.in/-4199c3

This post has been edited by eYe-reEs: Mar 20 2009, 13:16
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post Mar 20 2009, 14:41
Post #2

...delivered into the hands of indifference.

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e pa to... ovo je cisto zlato. cim dodjem doma ide sve na download. jedan od labela gdje mi jako fali backcatalogue, nemam skoro nista...
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post Mar 21 2009, 16:44
Post #3

...delivered into the hands of indifference.

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kaj da radim s ovim? kao prvo sve je na ruskom a drugo oce da instaliram neki soft... help
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post Mar 21 2009, 19:26
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QUOTE (fromm @ Mar 21 2009, 16:44) *
kaj da radim s ovim? kao prvo sve je na ruskom a drugo oce da instaliram neki soft... help

u donjem lijevom kantunu sajta pronadji nesto kao captcha... ispod je zelena tipka na kojoj pise "Скачать" tj "Download". nakon sto si uspjesno desifrirao brojeve i slova, klikni na zelenu tipku i onda ces dobit download url... tocno ispod "Скачать файл" tj. "Download file"... meni je download isao pomalo, ali sve sam uspio skinut biggrin.gif
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post Mar 23 2009, 22:23
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...delivered into the hands of indifference.

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This post has been edited by fromm: Mar 24 2009, 10:34
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post Feb 14 2011, 14:24
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nije moguce da je prosla 2010 godina bez posta na drumcode-u?!? blink.gif

Alan Fitzpatrick – Insurgent Series [DC78]

Artist …… : Alan Fitzpatrick
Title ……. : Insurgent Series
Genre ……. : Techno
Label ……. : Drumcode
Source …… : WEB
Quality ….. : 320kbps avg / 44.1KHz / Full Stereo
date ….. : 14-02-2011

1. Tinitus 7:21
2. Sub Dubbed 8:25
3. Redline 10:24
4. Xenomorph 7:09
5. En Salada 8:01
6. Lost And Found 5:01

Release Notes :

The first original Drumcode material from Alan FItzpatrick since his debut LP,
‘Shadows in The Dark’, takes the form of the six-track ‘Insurgent Series’ EP.

From the brutal, distorted tones of opener ‘Tinitus’ Fitzpatrick uses the
extended EP to it’s fullest. The dub techno ‘Sub Dubbed’ marries harsh digital
sounds with familiar dub aesthetics but sidesteps the Basic Channel model and
delivers something which the producer has definitely made his own.

From the aggressively disorientating stabs of ‘Redline’ through to the sparse,
rolling tech-funk of ‘Xenomorph’ and ‘En Salada’, Fitzpatrick’s distinctly
fever-dream feel runs throughout ‘Insurgent Series’ and, paired with his superb
approach to placing sounds in the mix, makes for compelling listening.

Even when losing the beats entirely, as in closer ‘Lost and Found’, Fitzpatrick
uses dark pads and spikey shaker hits to offset the flowing melodic leads. These
little touches really reach out and challenge, stopping any one mood from
comfortably settling..


clap.gif vec neko vrijeme mi je paznja na Fitzpatricku. bravo.
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post Feb 23 2011, 10:42
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INTERVIEW: Joel Mull & his 'Sensory' album

Techno, for all its wonderful rhythm and intoxicating hypnotism, tends to lose power and meaning outside of a busy dancefloor. That has always been the biggest criticism of the genre that began with three guys and some machines in Detroit in the early 1980s.

But out-and-out conceptual artist albums have never really worked in techno either. The challenge for the genre's producers is to move both the feet and the heart, which Joel Mull's third studio album Sensory (released this week on Adam Beyer's Truesoul imprint) does rather elegantly.

"My last album had a more cinematic approach as it was mixed all the way through like a journey," says the 36-year-old from his home in Stockholm. His previous longplayer 'The Observer' was released on Harthouse in 2007.

"This album has a different journey as it's more focused on the dancefloor. This time around, the album definitely sounds more like when I DJ."

Part of the reason for this is because Mull admits he is addicted to DJing. "Being a DJ is a very big part of who I am," he says. "Being out there in the clubs and parties, and being a part of the nightlife - that is what makes me feel alive.

"It's very important for me to have this form of expression. And I still love the way I live. I'm proud of being able to travel and play music for people all around the world. If I'm not out somewhere playing on a weekend I can sometimes feel very lost. Not one day passes where I don't think about music and mixing music."

The way that Mull approached production of the album also gave it more of a dancefloor edge. "It's always different how you work on albums," he explains. "Rather then only focusing on single releases, I made club tracks for almost a year, and then Adam [Beyer] and I sat down one day in September and decided what to put on the album.

"I had made over 25 to 30 tracks so there was a lot of choosing to do. We quickly got an idea of which ones would work on the album."

And at the heart of 'Sensory' is its pulsating club sound. The album builds like one of Mull's renowned DJ sets. Tangible moments of melody segue into concrete techno and house grooves that echo of a past, present, and hazy future. Mull says the album is influenced by many sounds, including early house, techno, and dub.

Tracks like the bright 'Sunday2Sunday', 'Danny Boy' - Mull's ode to New York City's house king Danny Tenaglia, and the rambunctious techno circus 'Holographic', push the album deep into nightclub territory, the area that Mull is most happy occupying.

Over the last six months, he has played most of the album's tracks out in clubs, "especially 'Danny Boy' and 'Holographic', which are my two favourites". 'Sunday2Sunday' is due to be released as a club single, with remixes from Funk D'Void and Martinez.

Ultimately though, it is the fact that 'Sensory' is on Adam Beyer's Truesoul label, that defines its tint. "Truesoul has more of an open forum to its sound, so that's the feeling I went for," says Mull. "Truesoul stands for the more soulful end of techno and it fits me very well. The feeling I was after on the album was hypnotic/soulful/body/techno," he says, with a smile.

The spirit of the album in the end comes from its three welcomed diversions: the dream like introduction 'Nagoya Bolero', the jazzy downtempo trip 'Arriving', and the expansive and complex six minute soundscape 'Sensory'. All three tracks combine to create a strangely heart-warming side to the LP, and a welcome respite from the driving beats.

"I've collected electronic music since the begining of the 1990's," he says. "I used to DJ in the ambient rooms of rave parties right at the beginning, and that is how I started out as a DJ, experimenting with sounds."

So it seems even the poignant, heartfelt edge of 'Sensory' comes from Mull's experiences as a DJ.
What would he do if he wasn't a DJ? "I'd probably be a chef because cooking in a way is very close to DJing - you have the ingredients, you mix them to create new flavours and tastes, and then you serve it to people which makes them happy, at least most of the time!"

(Words: Terry Church)

Joel Mull 'Sensory' [Trusoul] is out now, available on CD or digitally from Beatport.

Watch a video interview with Joel Mull and Adam Beyer about 'Sensory'

Sensory. Joel Mull & Adam Beyer. from Ryan Wheeler on Vimeo.

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post Feb 23 2011, 10:54
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post Feb 23 2011, 11:41
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INTERVIEW: Alan Fitzpatrick & the 'Insurgent Series' EP

British techno rebel Alan Fitzpatrick stands against technological progress on his new 'Insurgent Series' EP on Drumcode. Opting to mix three of the EP's tracks in his studio in one live take, the Southampton-based producer worked in a way reminiscent of the earliest days of techno.

It is his first EP on Drumcode since his debut album 'Shadows In The Dark' captivated critics and techno fans alike in June 2010.

"I wanted to do something a bit different to my normal stuff," he says, about the EP. "I didn't just want to make another record of classic Alan Fitzpatrick sounds. I had wanted to do some tracks live in the studio for quite some time so I thought this EP would be perfect for it.

With the 'Insurgent Series' EP out this week, we sat down with Alan to find out more.

Three of the EP's tracks were recorded 'live'. What does that mean exactly?

Usually when you write a track you have the bass, kicks, hi hats, and sounds all running through a sequencer or audio workstation like Ableton and then you can work on it as long as you want, tweaking stuff as you go over and over it.

For three of the tracks on the 'Insurgent Series', I got all of the sounds and percussion that I wanted running through a midi controller, and then jammed out in the studio recording the output.

Because it was recorded live all in one take, I couldn't fix the mistakes or turn up the hi hats or bass if I got it wrong, so it resulted in a lot rawer of a sound. Also the EP can't be remixed, as there's no individual parts.

That sounds like a pretty scary approach to making electronic music.

Well, I jammed for a long time with the tracks before hitting record so I knew where I wanted to take them during the mix. I also did some re-edits afterwards, cutting out some parts that were too long, or moving the arrangement slightly.

I just wanted to try something different for once. I know a few producers write their music in this way - just going on feeling. And because it was me jamming out in the studio, some of the tracks went on quite a bit. You can get carried away in the moment when you work like this.

Why did you decide to make music in this way?

I wanted a challenge really. After I finished my album, I took a break from producing solo tracks and then I thought, 'why not do something a bit different'?

That's why I decided to call it the EP 'Insurgent Series', and Adam [Beyer] was the perfect person to release it with as he's always up for new ideas, and always willing to take a punt onnew music.

I won't be making music like this very regularly though, as it keeps it special that way.

Tell us more about the production process for the live tracks. How did you have it all set up?

In Reason you can bring up racks of drum machines and samplers, so I assigned each component to a channel in the mixing desk, and then sent all the outputs to Ableton Live.

You can just hit record in Ableton and that will record everything into one WAV.

I used an Evolution MIDI controller for controlling all the channels and sounds. It's only a small controller, but it was all I really needed. A lot of techno guys like Paul Ritch use the Evolution controller.

Why do you think that is?

It's nice and easy to use, compact, and the sort of controller you can take with you on the road for a couple of weeks during a tour.

Which three tracks on the EP were recorded live?

Lost And Found, Sub Dubbed, and Redline, which was the first 'Insurgent Series' track. Lost And Found was my first ambient experiment on an EP, and it's an afterhours, ambient sound. I really enjoy making stuff like that.

At some point in the future I would love to make a whole album of that kind of sound - I call it 'headphone techno'. You know, it's something you can chill to. It's not boomed-out-in-your-face techno anyway. It's nice to be able to break out from that sound sometimes.

Have you ever DJed that kind of sound before?

I'm normally booked for techno sets, but I do sometimes play those sounds at places like Berghain. I DJed there for 5 hours for the launch of my album, so I was able to throw some of those sounds into that long set.

For my set in Room 2 of Fabric last month, I played some ambient stuff in the last hour. At techno clubs, you can experiment towards the end of your sets and people will usually stick with you.

Sub Dubbed is a pretty interesting sound for you and Drumcode.

I never would have expected that to come out on Drumcode, and that's the good thing about the EP. My name on Drumcode has been pretty successful so far, and I've had various EPs on the label, so people know me.

I always listen to King Tubby and mad dub stuff like that. I thought I'd make some tech dub fusion for fun, and I was playing 'Sub Dubbed' at the end of my gigs which a lot of people were asking me about.

I think as an artist, it's good to step out of your envelope. Especially with the amount of music that's out there at the moment. A lot of the time, people know what they're gonna get with me, and even on this EP there are three typical Alan Fitzpatrick tracks.

But I think it's dangerous to always write the same thing, and never experiment on your EPs because the minute you put out an ambient track, or some wacky electronica, people won't like it. But if you're always putting out different sounds as well as your main stuff, they are more likely to accept your experiments. Ultimately, it's nice to show off different sides of your sound.

You mentioned King Tubby as an influence. What other non techno artists have influenced you?

When I go to festivals and check out different stages, I always hear music that inspires me and makes me want to learn how to make it. I'm influenced by different stuff.

I writing some mad tracks at the moment, that were influenced by the Tron Legacy soundtrack that Daft Punk did. I think that's an amazing soundtrack. Also the soundtrack from Bladerunner, that has been really inspirational for me. I've tried to write mad stuff like that too.

You said that 'Red Line' was the first one of the live recordings.

Yeah, it was the guinea pig that started it all. I recorded three versions of that track, and after playing them out, I settled for this one.

I tweaked bits before each new version. It's actually the longest track I've ever written, at 10.5 minutes. That's mainly because I wasn't looking at the clock, like I do when I normally use a sequencer. I was just listening to the music and going with it.

I really enjoy making music in this way, although it's easy to get carried away and put the hi hat up too loud whilst recording. When you do that, you can't suddenly bring the hi hat down as it would sound weird, so you just have to stick with the mistake.

And what about the non-live tracks on the EP?

Tinitus, Xenomorph, and En salada are classic Alan Fitzpatrick. They're my usual pumping raw techno vibe.

En Salada is a little percussive, Xenomorph is quite stripped back, and Tinitus is pretty solid.

Finally, how do you feel your 'Shadows In The Dark' album did overall?

It was a really nerve racking time when we put it out, as I was going to be the only person other than Adam Beyer to have put an album out on Drumcode. And considering the label is 80 releases strong, that's a lot to live up to.

But Adam seemed really happy with it, and he called it a "masterpiece" which made me really proud. I've got a plaque of the CD album in a black frame outside my bathroom door actually. Every time I go to the toilet, I see it.

(Words: Terry Church)

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post Feb 23 2011, 13:33
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Adam Beyer presents Drumcode Radio live from Chibuku, Liverpool
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post Mar 2 2011, 09:48
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post Jul 26 2011, 13:31
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Joseph Capriati - The Gallery

Here is the first of our short promotional videos for upcoming Drumcode releases. This will be a regular feature so look out for new content over the coming months. This one features Italian producer Joseph Capriati discussing the ideas, concepts and production behind his forthcoming single, The Gallery, released on Drumcode on Monday 20th June.

Drumcode are delighted to welcome Joseph Capriati back to the label for their latest release. Now a regular contributor to Drumcodes release schedule and events, Capriatis funk-infused, no-nonsense sound has captivated audiences with its powerful rhythms and understated drama.

This latest EP sees Capriati unleash two brooding cuts of emotive techno that carry the mark of Capriatis typically full-force production dynamics. Lead cut The Gallery romps along at a sharp pace, buoyed by a snarling sub-bass line while b-side, Psychology pulls back on the BPMs, injects a choppy rhythm section and utilizes more melodic elements and chord changes. Included as a digital extra is a ambient tool version of The Gallery.

INTERVIEW: Joseph Capriati talks Neapolitan techno, Drumcode, and him new EP 'The Gallery'

Just a few years ago Joseph Capriati was just another kid on a Naples dancefloor. After discovering that his hometown had a secret techno underbelly, he threw himself into DJing, and later music production, hoping to emulate the careers of some of Naples' homegrown techno heroes.

In the mid-1990's it was DJs like Marco Carola and Gaetano Parisio who put Naples, and Italy, on the techno map. They were the producers, promoters, and DJs who helped forge a Neapolitan sound, and build an influential movement which they exported like pizza to the rest of the world.

Now it is Joseph Capriati who is the toast of Naples' techno scene. With a steady stream of cutting-edge releases on some of techno's most respected labels, including Rino Cerrone's Rilis, Chris Liebing's CLR, Markantonio's Analytictrail, Richie Hawtin and John Acquaviva's Plus 8, and Adam Beyer's Drumcode, Capriati's music has spread far and wide. There are few producers who can boast such a pedigreed discography for such a young age (he is still only 23).

Capriati's debut album 'Save My Soul', which was released in June 2010 on Analytictrail, also showed that his writing abilities lay well beyond techno with blissful downtempo, wacky electronica, melodic breaks, and even drum & bass making an appearance on the longplayer.

With Joseph Capriati's 'The Gallery' EP dropping yesterday (it is his first Drumcode EP of 2011), we sat down with the lively Joseph Capriati to find out more about his sound, Neapolitan techno, and his relationship with Adam Beyer's label.

You've achieved a lot for a 23-year-old.

Thanks, I'm glad you think that.

What are your main aims as an artist?

To be part of one of the best techno labels in the world, Drumcode, to have released music on some of the other leading techno labels, and to play at amazing festivals and clubs around the world alongside some of my favourite DJs.

The first important goal is that I do what I like to do, with music that I love.

Which labels in particular do you hope to work with?

Well, CLR to name one, and AnalyticTrail. Of course, Drumcode always comes first though.

Why do you love Drumcode so much?

Because ever since I discovered Drumcode in 2003 I have seen that it follows a proper way of music, and it has created its own techno genre. I call it "Drumcode techno". When you hear a Drumcode track you can recognise that it was released on Drumcode - it has happened to me before!

Also more importantly, Adam [Beyer] runs Drumcode without compromises and without caring about trends, or what music is selling the most at that particular moment in time. Drumcode is exactly like me. It's what I really think of myself.

What do you mean?

I don't ever compromise. I only work on what I like.

So you would never change your sound a little bit for a big festival gig if they offered you a lot of money?


You have an underground spirit then. Is this the Neapolitan spirit of techno?

Yes totally. This is the real Napoli techno spirit. My techno may not sound as underground today as it used to be, but I am still so underground. I work hard in the studio without caring about the fashions of the club world.

What's Naples' techno scene like?

Napoli is the capital city of techno in Italy, I think. Since the early 90's artists like Marco Carola, Rino Cerrone and Gaetano Parisio have explored the Neapolitan techno sound and exported it around the world.

If you think that about 70% of the most respected Italian techno artists came from Napoli, you can imagine what the situation is like here.

I am very lucky to be part of it now, and to have had a music schooling like this. I have to say thanks to the big influences that I got here in my city - going to dance in the past at the amazing parties that we have here at places like the Old River Park where all the best techno artists play.

We have a big connection with cities like Stockolm as well, with artists like Adam Beyer, Cari Lekebusch and Joel Mull who have created over the years something similar us.

Why do you think Stockholm and Naples have this connection?

I think that Napoli's and Stockholm's spirits are pretty much the same. There is and there was in the past a lot of collaborations between Stockholm artists and Neapolitan artists, especially with Drumcode.

In the past Marco Carola and Gaetano Parisio were the first producers from Napoli to collaborate with Drumcode and Adam Beyer. Now I am lucky to continue what they did before, and honestly I'm very satisfied with it as Drumcode is the right label for me, and they produce the kind of parties I like to play at.

Do you have a DJ residency in Naples?

The only residency I had was from 2001 to 2006 at a club called Sub Way, which later changed to Disco Seven. There I made my first steps as DJ, playing birthday parties, thousands of warm up sets, and hearing and playing for the first time with international DJs.

How often do you play in Naples?

I play in Naples just two times a year now. In winter at Golden Gate club and in the summer at Old River. I recently played back to back with Adam for seven hours at Golden Gate.

Why don't you play more in Naples?

I prefer to play less just to create some anticipation with the people that support me here. And I want to build up the suspense for myself as well. When I play in Naples it is always something special. The crowd is one of the best on the planet and I see much love in the air at every party I make here.

They are also big fans of Neapolitan artists, and they support them around the world. Everytime I play at big festivals or important clubs outside of Italy, there are always Neapolitans attending it. That's something very special about the Neapolitan clubbers.

How would you describe the Neapolitan techno sound?

The soul of our city is the funkiness! I think we have created over the years, a special mix of old Detroit and German techno, which we've fused together with our Latin and "Partenopean" classic sounds. We have it in our souls, so what we did came very naturally I think.

When you say funkiness - what do you mean exactly?

The funk can be heard and felt in the grooves and basses that we use in our tracks. There is a funky influence in what we do. In musical terms, you'd call it swing.

When you write techno, do you always try to include swing?

I use less of it now than before but I always use it. I don't have swing in all of the sounds that I use, but I always have a minimum amount of it in my tracks. I think swing is the special ingredient that makes a techno track not sound too boring.

Does your new Drumcode track 'The Gallery' have much swing in it? It's quite dark and menacing.

For sure the track is dark, but it doesn't have to sound funky to be funky. Funky is really about the effect that it has on you when you dance to it. I'm a pretty dark producer in general!

Are you?

Most of the tracks that I make now are dark and big room, but I also like to make sounds that are something more like tech house, or even electronica sometimes.

On my debut album 'Save My Soul', which came out last year, I tried to realise some different tracks with unusual sounds, that included all of the musical influences that I got since 1998 when I started to play records.

'Save My Soul' was certainly different. It had drum & bass, breaks, downtempo and electronica.

Yes I wanted to do something different to my EPs. I think when you do an album, it has to be suitable for the album format.

Of course, big club EPs is what you're known for. What were your thoughts behind 'The Gallery' track on your new Drumcode EP?

'The Gallery' is for sure an expression of what I have inside of me now. Also the title matches the mood of the track perfectly. It is a dark, big room cut with some mental and intense pads that take you on a big trip like you're in a long gallery without lights, and the only lights you can see is the exit sign right at the end of the room. When the track finishes you finally escape!

Is this the sound that you're captivated by at the moment?

This is a pure expression of where I am musically. It's different to the past, and of course, my sound will change in the future. I always try to modify my sound based on what I have inside of me at that moment. Right now I can say that when you hear 'The Gallery' you can hear my mood.

What about 'Psycology'? That is quite different to 'The Gallery'.

'Psycology' is the second track from the EP. it is not so different from 'The Gallery' in terms of genre, but I think there are less mental moods in it, and it is less hard as well. I think it's a good combination to have on the EP with the other track.

What are your future plans with Drumcode?

After 'The Gallery' I will release a collaborative EP with Cari Lekebusch. We made it in my studio over two days when he played at the Old River last April.

Then I will make a track for the 15 years of Drumcode anniversary compilation which will come out this year. And we will have a special Drumcode tour in seven countries and possibly more after the summer. I plan to do another EP after the summer as well, and in 2012 I will release my second album, this time on Drumcode - I will start to write it next September. I've also done a remix of one of Adam Beyer's hit tracks and maybe he will release it. Right now though, I can't say anything more about it!

(Words: Terry Church)
drumcode blog

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