What We’ve Learned In 2013…

Our interviews offer a regular smorgasbord of insight, intrigue and irrelevance. Here’s what we’ve learned this year…

James Holden: not a fan of ‘spray-tan music’

“There’s so much imbued meaning in production choices and I think in dance music people are quite unaware of that… Loads of people in dance music think that even though they’re not making Guetta-house they can use the same production techniques as Guetta and it’s still OK. To me that’s like… functional, spray-tan music.” – James Holden on the importance of aesthetics

“Of course I’m a fan of sampling – I find it odd that there are people into dance music that seem to be quite stuck up about it. In fact, I’d say I’m suspicious of people with such views because this whole thing is built on sampling culture, so it’s odd to try and come off as a purist about it.” – Paul Woolford on the roots of his Special Request project

“If you want to come to Bikram [yoga] with me you’ll be on the floor in twenty minutes gasping and having to leave the room crying. I’ve seen big guys give it the big ’un then twenty minutes later they’re crying their eyes out and you see them fold like they’re in a coke sweat. I’m in a good place. To be here still talking about something that I love? I’m alright here, son. I’m OK. If you wanna fight me, I’ll see you in the fucking car park. I don’t care. I’ll roll with any cunt. That’s the old me, but it doesn’t go away. It’s still there.” – Goldie, asked whether he’s gone soft in his old age

“You need to check out black dance history from the late 60s to the late 80s. Learn about our culture; ask questions – you won’t look stupid. Check Jamaican sound systems out, learn about how we danced and about our communities; it’s a million miles away from now but it’s important to find the connections. This is not rock and roll.” – A Guy Called Gerald discusses the roots of dance music culture in our feature on live techno

“Jamie Jones and Lee Foss asked me to DJ at a Hot Creations party with them. This was in 2010, I think. I had no idea who they were. My manager, Marcy, told me they were really cool and that I should do it. That was kind of my foot back into it from the 90s. It feels like I’ve been in a coma.” – MK on his return to dance music

Goldie: definitely not soft

“We aim to make music to make people dance, to be enjoyed in a club and ultimately to put in our own sets. Some people only value originality, which is great, but it was never our number one goal compared to making people dance.” – Bicep define their priorities in our feature on revivalism in dance music

“I think there’s definitely something building. There are so many really great new producers who’ve come through in the last nine months or so, people with shared ideas and similar tastes. It’s really refreshing to see.” – Mumdance on the emergence of a new scene loosely based around instrumental grime influences and the Keysound Recordings crew

“There’s a thing about drum and bass where some of the music’s pretty fucking incredible – really thoughtful and quite cool – but at the same time the view from people outside drum and bass is that it’s not cool at all, and I completely get that. It gets to the point sometimes where you’re a bit embarrassed saying you’re a drum and bass DJ. – Marcus Intalex, aka Trevino, on the relief of taking a break from drum and bass

“Families and groups are great to a certain extent, but they are also quite oppressive. They don’t really take care of the individuals as such. Capitalism makes individualism possible, though – it’s a bit harsh to say that, and I know we’re all supposed to love each other, but groups have always scared the shit out of me.” – Cassy on her status as an outsider

“There’s something quite exciting about that resurgence of analogue house – LIES and stuff like that – in comparison to the Berlin shaved balls sound. It’s nice to have something real and a bit human, full of mistakes, bringing a bit of life back.” – Holden again, this time on the recent trend for analogue jams

“A sort of synchronistic moment happens when you write. It’s totally unique. Modular synths can take your ego out of the equation – which, in music, is a blessing.” – Junior Boys’ Jeremy Greenspan on the appeal of modular synths

“The benefit of hindsight would have only slightly altered my idiosyncratic approach to my ‘career’. The thing I do regret, however, is not having enough cool haircuts. A full head of hair is now a dim and distant memory, but the yellowing photos in my dusty old albums speak of an opportunity squandered.” – Justin Robertson on his biggest regret

“Make music quietly. If you can hear the bass in the mix working at a low level, imagine what it’ll be like when you turn it up. You’ll be amazed… trus mi.” – Mr G offers a vital production tip

“The worst job I’ve ever had? Working for a magazine that sold stairlifts for old people. It was utterly vile. I was there for about six weeks. Leaving there to work in a mental hospital was the best thing I ever did.” – Danny Howells on his unusual career path before making it as a DJ

“I still work and will continue to work. I love being involved in music but I also like the fact that I’m not dependent on it. It turns a love for something into a job.” – V.I.V.E.K on why he has no plans to give up his day job

“If I wasn’t making music I’d be plumbing your toilets like a fucking boss.” – Dillon Francis‘s alternative career plans 

“Best club experience? Blowjobs in the DJ booth. And getting great responses from playing my own tracks.” – Two very different types of club pleasure for Josh Wink

“I think if you purely make music for yourself you run the risk of alienating your listeners. My music teacher used to always say to me, ‘It’s one thing to watch someone eat chocolate and it’s another thing if they share it with you’, and I always try and keep that in mind when I’m writing music.” – Raffertie on the importance of sharing

“How do we know when a track’s finished? When it’s due.” – No Regular Play on the motivational value of a deadline