one small seed was super hyped to get the chance to catch up with the guy who Rolling Stone voted in as one of 2012’s Top 10 ‘DJ’s Who Rule the Earth’. And although we’re pretty sure he’ll make 2013’s list, we’re more sure making ‘lists’ aren’t really his thing. Unless, of course, it has the prefix – ‘set’ – before it.

I was never a fan of DJs that play the hits, it’s too easy. Even back then when I was working in a record shop… I got lots of promos but I stopped playing them when everyone else got the same record. (Ridha)

Boys Noize, image: c/o one-eyed-jack

When in SA will you take time to engage in our country’s unique styles of dance music? For example township -tech, kwaito, shangaan electro?

Yes totally; I’m gonna’ spend almost two weeks around my shows. I am so excited to check out the culture and of course the diversity in electronic music. I’ve heard so many good things about some crazy styles.

What is the first memory of electronic music you have? Good or bad… ?

Very good! I was at home in the room of my brother (who’s eight years older) and he was doing the ‘Walkman’ X ‘pump’ dance to those early house records from Farley ‘Jackmaster’ Funk, Steve ‘Silk’ Hurley and Trax Records or Bomb The Bass. I was only six or seven years old so I didn’t know it was house music.

What are some of your fondest memories from when you worked at Underground Solution in Hamburg? Is the shop still around?

That was the BEST TIME, really… So many good memories. I remember I was there the first time when I was 14 years old. I bought a few disco-house records but I only had one shitty turntable from my parents at home. After some months I ended up going there every day to check out all those house records and dig deep into all the different labels and I bought myself a set of two shitty reloop turntables and a mixer. One day the chef asked me if I wanted to work there, ’cause I was spending all my free time there anyway.

I started to work there as well as keeping my other job as a cleaning boy (where I made way more money) in order to keep buying all those records I wanted. I got crazy addicted to vinyl and stuff but at one point I couldn’t stand the cleaning-boy job anymore so I decided to only work at the record store. A few months later, my chef offered me a warm up gig in a proper house club for about 600 people and I was playing right before Boris Dlugosch, who was the local hero, so the full scene was there and I kinda’ rocked it (laughs). I was only 16 years old and super slim, but yeah, after the gig everyone came to me to give me big-ups. That one night changed my life!

What was the last record you bought?

There were a few. There is so much good stuff on vinyl right now. I bought that Kyle Hall 2×12″ and some new L.I.E.S. records. I really like all these rough house and techno productions that are having a comeback.

The deep house scene in Hamburg was really notable in the ’90s – different to Berlin, which was much more techno… Growing up there, during that time, what were some of the labels, clubs and DJs that moulded the early sounds of Boys Noize?

I was always a fan of those homemade weird production records that don’t sound too clean. Lots of Theo Parrish, Moodymann/Sound Signature, Guidance Recordings, Glasgow Underground, Henry Street, Ian Pooley… but even some Ibadan and all Masters At Work of course.

When I started off in ’96/’97 it was also the time of the first French Touch, especially all those early Roulé/Trax On Da Rocks releases by Thomas Bangalter really shaped me as a producer. They had the vibe of Chicago’s Dance Mania Records but the production was more special.

And then I discovered Disko B and Gigolo Records a little bit later and I started to lean more towards electro and techno, and right after all those it was Berlin labels like Sender, BPitch or Shitkatapult. I think that is when I found my own sound.

In Mark Dery’s text titled Black to the Future, he states ‘Techno, whose name was purportedly inspired by a reference to ‘techno rebels’ in Alvin Toffler’s Third Wave, is a quintessential example of Afrofuturism’ – What are your thoughts on this?

I think techno is way more then just a music style. Techno for me is also almost a lifestyle; although I wouldn’t say my music is techno. We make the music we love and we don’t really care what other people say. In a way, techno started out like punk music, a movement against the so-called ‘commercial music’. Techno clubs were dark and banging and you could loose yourself for hours listening to the hard 4/4 rhythm. I don’t know what ‘Afrofuturism’ means but maybe it has something to do with this?

image: residentadvisor.net

You’ve commented that Mr Oizo is ‘the best producer in the world’ — what, in your opinion, are some of the key factors that makes a great producer?

(laughs) Yes, he definitely is one of my favourites! First of all it’s the sound. It doesn’t happen much anymore when I get fascinated by a sound of a certain producer but still Mr. Oizo does that to me. His production is always on point, kind of minimal but always playful and lots of fun. For me, those factors are the most important. Don’t get me wrong, I like more serious production too but I prefer to hear something where you think ‘WTF he’s got balls. It’s the same with those Theo Parrish records – sometimes they are so rough you can’t even play them but that’s exactly the reason why I do play them (not at a festival haha!). But, yeah, I think producers shouldn’t take themselves too seriously; it’s no fine art, it’s about simple emotions. We do this for fun and basically as a hobby and electronic music has no rules. Every time I hear a producer that breaks out of their own style I’m happy.

And, then what make’s a great DJ set?

Well, there are some factors. First of all let’s take a small club (say 500 people), second would be great banging sound and third being not too much light. I think a good DJ has a good feeling for moments and the DJ does the right balance of playing new shit no one has heard of but also giving the people a little candy (no real candy) every now and then. Again, you are a DJ at a PARTY and I think it’s most important that everyone has fun and can go crazy. So, yeah that’s basically it (laughs).

I’d rather try and break a new record into a hit; trying something out is what a lot of DJs don’t do enough I think. If I would play hits only I’d be retired from DJing already.

image: commons.wikimedia.org

In an interview with Gigwise on talking about Daft Punk’s latest album you said ‘No one really does it like they do – and no one can do it.’ I agree! Without blowing any horns here, what do you think you do that that makes you stand out for others, such like Daft Punk stands out for you… ? Or at least something you are spending solid hours on developing. I mean Rolling Stone voted you amongs the Top 10 `DJS WHO RULE THE EARTH` in 2012…

Thank you, I can’t really name it, I think. I do look for sounds that other people don’t use. I buy so much music every day and I look out for music every day, so I try to find a way for exciting myself with sounds that I don’t hear in the same context I guess. The music I do has to excite me and when it does it has an effect on other people or producers. Also, I’m happy I can finish making records easily; I don’t overthink my music too much, which I guess a good thing.

In today’s money-making world of EDM, how do you maintain your sense of passion for the Art without giving in to the dollar?

I just trust my feelings to be honest. Also, I’m not the kind of guy who makes an EDM-type of record and put it out, I just cant, it’s not my style. I am happy with the way I live and the way I make my music. I don’t have to start making music for a business reason, it just ain’t me. I do love pop music and all that but for my own music I have a good vision. I was always careful what I put my name next to, for instance I never did remixes for acts I don’t like just for the money. It is not easy doing it the way I do and some people might think I’m stupid, but yeah, I’m so happy to be where I am without doing the obvious shit.

BNR (Boys Noize Records) recently had its 100th release, which of those 100 releases do you think will be considered a genuine classic 20 years from now?

(laughs) I don’t know but there might be some timeless bombs here and there I think some of the stuff from Housemeister, Strip Steve, Djedjotronic or SCNTST are always anytime good to play.

image: mixmag.net

Erol Alkan has been supporting your music right from the beginning leading to many collaborations with him. How did your collaboration with Skrillex come about (recording as Dog Blood) and what is the concept behind the release?

We didn’t plan this. I took off time from touring last summer so I was in Berlin all the time. He had a show in Berlin and I invited him over to my studio. We spent a lot of time playing each other’s music until we started to play around with some of my analogue gear. We recorded some sounds and put them onto his computer… in the end he crashed at my place and we ended up doing two tracks. Both of us knew we didn’t want to call it BN and Skrillex, so we decided to start this new project instead. The record came out in August 2012 but we didn’t tell anyone about it until our first festival show in March this year.

You were a warm up DJ early in your career. Do you feel that it is dying art in today’s world of huge festivals where the crowds want instant music from the get-go?

Well, I think it’s coming back more and more. There’ll always be cool clubs and there needs to be a guy who sets the mood right and gets the girls and boys dancing, right?

Do you feel it’s essential for a DJ/Producer to release their music on their own record label in order to give oneself longevity in the industry?

No, it works both ways. Look at the Chemical Brothers or The Prodigy for example. You can do it either way.

I’ve just seen too many producers trying to enter into pop after a while on a major label… I like to have 100% control of the way I release my music.

image: thekoolkids.com

Is there more pressure or a difference when remixing a current artist or when remixing a classic artist like you did with CJ Bolland’s ‘Horsepower’?

For me it’s almost the same thing. Generally it’s tough to remix techno tracks like CJ Bollands. (especially when there are no stems haha). Though, it was quite difficult to remix the Daft Punk TRON: Legacy soundtrack.

Any Alva Noto X Boys Noize collab? You mentioned he might not be up for it, but we thought you wouldn’t be up for this interview… (you might not be, I’m sending these off in blind faith)!

Yes! I’d be totally up for this! You know what, I just did a remix for ATOM TM which is coming out on Raster Noton and they all love it!!!!

Who in the future would you like to work with?

I’m happy the way things are. I love making music with Gonzales and we are actually work on a new album. But if you ask me, maybe Prince :0

Please finish this sentence: ‘South Africa…’

South Africa is where one of my best friends comes from and the place I will visit this year for the first time. I am really excited !!! oi

interview by Sarah Claire Picton and Bradford Newcomb
images: C/O one-eyed-jack, residentadvisor.net, mixmag.net,commons.wikimedia.org,thekoolkids.com

Relevant Links

BN Facebook
BN Site
BN SoundCloud
Vodacom in the City
Rocking the Daisies

Official music video for ‘What You Want’ by Boys Noize on YouTube

For this week’s #bottomrightcorner, we handed it over to none other than the Manyoba BOY$! Made up of Lesotho-born Big Space and British expat Jumping Back Slash, Manyoba BOY$ are the most swanking South African underground house and techno producers around; they got white meat and dark meat like a chicken and together they bring the Manyobane$$! We asked them to choose five of their favourite tracks, and so without further ado… Presenting the Manyoba BOY$’ #bottomrightcorner!

Bob James – ‘Nautilus‘
 

 
Bob James is a jazz keyboardist and producer who is recognised as one of the pioneers of smooth jazz. His silky tunes have awarded him two Grammy trophies and a lifelong legacy among jazz’s elite. He was also member of Fourplay – a jazz supergroup that spent numerous weeks at the top of Billboard’s contemporary jazz chart when their debut self-titled album released in 1991.

James’ tracks have had a profound resonance in hip-hop circles, with numerous rappers sampling his work. For example ‘Nautilus’, taken from the album One, can be heard echoing through the heavy beats of Eric B. & Rakim’s ‘Follow the Leader’, Run-D.M.C.’s ‘Beats to the Rhyme’, and Ghostface Killah’s ‘Daytona 500’.

Alaska – ‘Alaska‘
 

 
Alaska embody South African music culture in the kwaito rhymes they’ve spilled through local airways over the last ten years. The five-piece group is made up of Lucky Mlakana, Thabo Tsotetsi, Les Ma-ada, Andrew Moloisane, and Sphiwe Pica. Their music brims with socially conscious lyricism which resonates in a variety of African languages – isiXhosa, Sesotho, isiZulu and Sepedi to name a few. The group originated in Soweto, and the track ‘Alaska’ is taken from their first album, Cool As Hell.

Kenny Larkin – ‘Northern Lights‘
 

 
Kenny Larkin is a ’90s techno banger. The Detroit producer has been described as ‘massively influential’ on the rise of techno in both Europe and America. To many who run in techno circles, Larkin is a household name. In the early 2000s he embarked on a career in comedy – fitting as he sometimes goes by the moniker, Dark Comedy – but 2012 saw him return to the dance floor sounds.

‘Northern Lights’ is a track that was produced in 1995. The song is a cool, laid-back, house-like showcase of techno in the ’90s. For all the youngsters who missed the ’90s age, take a listen.

Virgo Four – ‘Let the Music Play‘
 

 
Merwyn Sanders and Eric Lewis are Virgo Four. The duo, also known as Ace & the Sandman, salute their hometown, Chicago, in their Chicago house sounds. Chicago house is much like the smooth dance beats of electro house, except that it’s based and created in The Windy City. Their career was short-lived with only three records released, but Virgo Four’s music helped reverberate the beat of house through the streets of Chi-Town. ‘Let The Music Play’ is a silky, jazzy sample of Virgo Four’s electric old-school flavour.

Wu-Tang Clan – ‘It’s Yourz‘
 

‘Machine gun rap for all my niggas in the back’ – the first words of It’s Yourz’ say it all. Wu-Tang Clan are street rap invigorators who powered through American hip-hop airways throughout the ’90s. The crew is made up of a dizzying group of talent in RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa, and the late ‘Ol Dirty Bastard. They are widely acknowledged to be one of the most influential acts to hit the hip-hop scene and have garnered both critical and mainstream success.

The New York-bred group became famous for their story-telling rhymes which challenged social injustice, promoted Black Conscious, and defended the hustle of those running on the periphery. Their debut album, Enter the Wu-Tang (36 Chambers), placed them at the zenith of hip-hop triumph, with tracks like ‘C.R.E.A.M’ championing their arrival to the rap world.

‘It’s Yourz’ reflects the group’s focus on the harshness of the world by highlighting that regardless how insignificant man may feel; the world still belongs to us.

LINKS:

Manyoba BOY$ – Facebook, SoundCloud, Twitter
Big Space – Facebook, SoundCloud, Twitter
Jumping Back Slash – Facebook, SoundCloud, Twitter

words: Raeesa Pather
images: Manyoba BOY$

IMAGE: TONI-J PHOTOGRAPHY

OSS: Spaza$hop! Where does it all begin?

S$: SPAZA$HOP began in 2009. Two kids looking for a way to channel their energies and dreams. It was frustration, ambition and longing that got us writing raps in a three-room house in Soweto. We felt our rhymes so much that we found a studio and started recording. The first track we did was ‘Anti-gravity’. Turns out that track was hot because it became our first number 1 thus reassuring us that music was indeed our path.

Growing up who were guys looking up to?

Charlie Macc’s early influences were kwaito and house music loving artists like Dr Mageu. He frequented Electric Workshop in his teens. As Jonny Joburg I have always been into rock ‘n roll and American hip-hop with bands like Rage Against The Machine and Eminem molding me as a kid. All these influences have translated into SPAZA$HOP! Infact it’s why we’re called SPAZA$HOP! cause that’s where you find everything you like, everything you need for everybody.

Sunlight soap for the hood and Lux for the bougie niggas. We represent the ghetto kid who went to school in the suburbs and the suburban kid who spent weekends in the hood. It’s the juxtaposition of two worlds and the creation of a third.

What has the evolution been from Spaz$hop Boys to Spaz$hop! ?

SPAZA$HOP! aint boyz no more. We’re both 26 years old and we have a record label that’s partnered with some major players in music. We are now business MEN.

The Rehab Tony video seems to measure up to the song title, you guys have a lot of striking imagery in it, reiterating the song title. The contrasts from hospitals, to soldiers and opulence are pretty insane. What inspired the track and how does it correlate with the video?

Rehab Tony is actually one of the many Aka’s of the producer Francis Muller. He has a whole album’s worth of music that he’s done as Rehab Tony and when I heard it I was like lemme jump on that ish. The track is an edgy party jam and the video is just as edgy if not more. The video is a story of two guys being resurrected through a ritual and being set on their paths. We were resurrected from doing hip-hop as we knew it to this new sound, new look, new world.

Who are you guys in your day-to-day lives?

We wake up Charlie Macc and Jonny Joburg and go to bed Charlie Macc and Jonny Joburg. Charlie is a house DJ and aspiring actor whilst Jonny is a music producer and runs Renaissance-Rock Recordings.

What’s the ultimate goal you’d like to achieve as Spaza$hop!?

To take what people think is just a niche market sound to the average kid on the street.

So what are the plans moving forward with the album dropping in October?

We have some shows we’re organising with the owner of The Woods and Townhall in Newtown, Johannesburg. Take our music directly to the kids who’ll appreciate it. Then after that we gotta take it everywhere-else. Especially to the people who think they’re not into it. They just don’t know it yet.

Are there any other big announcements to be on the lookout for?

The Biggest announcement is the ‘Pinki Pinki’ video dropping in October and the album dropping October 31st.

What has the reception of the music been this far in terms of a country-wide response?

The first people to show us love were the executives and the blogs. The people have needed some education but they’re finally on our page. I think ‘Pinki Pinki’ is the perfect blend of influences; two parts electro and two parts Kwaito. The kids really dig it.

Any small towns to shout out?

S/O Diepkloof, Soweto and S/O Umlazi township in Durban.

Who would win a fight: Obama or Mandela?

The fight would be rigged so I ain’t putting my money down.
 

 
Interview by Phumlani Pikoli
image credit: Toni-J Photography

Signed to sSHADOWORKSs, Steve Elsworth aka Audiophile021 is an unquantifiable music powerhouse. one small seed spends a bit of time with Steve, from his base at the Red Bull Studios to playing live at The Assembly on the 11 May 2012 and at the Cape Town Electronic Music Festival on the 31 March 2012. Turn up the volume – here’s a taste of Audiophile021. (Length 02:37)

The head sound engineer of Red Bull Studios Cape Town by trade, he spends most of his life enveloped in chords and rhythm. A DJ and producer – he perfectly marries solid production steeped in pure quality and original style, all the while making and playing tracks that rock a crowd to the floor boards. Initially rooted in rock and metal, Audiophile021 quickly began flirting with electronic music, and his love affair with crunchy basslines and body-thumping drums rapidly grew into obsessive passion.

Picture by Adriaan Louw Taken At The Assembly

Audiophile021 – The Frown – Metallic Kiss (Audiophile 021 Remix)

Picture By Adriaan Louw Taken At The Assembly

 
Photos: Adriaan Louw

Source: sShadworksS, SoundCloud, Facebook

First recognised as the benchmark of an ideal childhood, whether it was real or a Hollywood construction, the lucky kids always had a treetop getaway in their backyard. It then became the muse of the musician and movie star, where we’d hear of conflicted creative’s shutting themselves in secluded cabin locations to heal their wounds before resurfacing to the world refreshed; masterpiece in tact.

Well, now is the age for anyone who wasn’t included in the cast of ‘Stand by Me’ (1986) or ‘The Little Rascals’(1994) to take sanctuary in a glorious haven where the modern world meets the natural. Situated in lush, mystical forests, these treehouses are far removed from the draining city’s chaos, I can’t imagine anything better for your soul than to wake upon a balcony suspended by branches to a view of tall trees piecing the morning mist and dreamy landscapes.

Baumraum Treehouse, Plendelhof Stables: Germany

Green Magic Nature Resort, Kerala: India

Don’t be deterred… it’s not as if these homes are taken out of the doggy-eared leaves of a hippy’s book. Many are designed by some of the most serious players in architectures around the world, and it’s going to take more than a few homegrown peanuts to nestle yourself between these branches. Just take the iconic location of the ‘80s film, ‘Ferris Bueller’s Day Off’, situated in Illinois and going for a swanky $1.65 million.

‘Ferris Bueller’s Day Off’ home, Highland Park: Illinos
Just think what all that fresh air can do! And if you can’t quite imagine yourself severed from your cellphone implants, or find you simply cannot go on without cues on alien religion by Tom Cruise, you could always choose a more temporary retreat such as a week or two in one of the treetop communities in Laos, Southeast Asia. It’s known as the ‘Gibbon Experience’ where you, like a Gibbon, will be swinging around the jungle via ‘foffy slides’ and munching natural foods, all the while having a positive effect on the ecosystem.

Photobucket

Besides the bliss of treetop living, most of the houses are made out of organic materials and are self-sustainable. Much of the interior is kept to a minimalist style, not detracting from the forests’ natural wonder. Tickle your fancy? Go check out Pete Nolan’s beautiful compilation called ‘New Treehouses of the World’ (2009).

Turnbull Griffin Haesloop Treehouse, Sebastopol forest: California

WORDS: MEGAN KING