Skrufff Editor-in-chief Jonty Skrufff is also the international representative for the Sochi Winter Music Conference, which takes place next weekend in Russia (February 9-12)

Six Drummers: click for promo clip

Founded in 2001, Six Drummers is a group of artists that make music, film and live performances. Known from the films ”Music for one apartment and six drummers” and ”Sound of Noise”, the drummers make music from objects rather than regular instruments and explore the boundaries between sound, music and image.

Six Drummers have played live on vacuum cleaners, food processors, cars, forklifts, ice blocks, drum kits and more in New York, Washington, Moscow, Cannes, Berlin and Stockholm.  shington DC,

Six Drummers are: Johannes Björk, Magnus Börjeson, Marcus Haraldson Boij, Fredrik Myhr, Sanna Persson-Halapi and Anders Vestergård (drummers), Johannes Stjärne Nilsson and Ola Simonsson (directors)

Skrufff (Jonty Skrufff): How did you end up doing what you do today?

Six Drummers: “We started by making films about Six Drummers: “Music for one apartment and six drummers”, and “Sound of Noise”. Then felt an urge to investigate this music further and take the concept from film to stage.”

Skrufff: How big a role has luck played in your life/ career?

Six Drummers: “We were extremely lucky when we found an electrical hospital bed we could play on. It played chords: am7 on the way up, and dm7 down. A groovy bed.”

Skrufff: What’s been the hardest obstacle you’ve had to overcome?

Six Drummers: “To finish “Sound of Noise”.

Skrufff: What’s been the biggest mistake you’ve made (and what did you learn from it?)

Six Drummers: “We have a tendency to work with very complicated ideas. It seems we’ve learned nothing so far.”

Skrufff: how superstitious are you? (if so, about what? )

Six Drummers: “We never whistle on stage.”

Skrufff: What advice would you offer someone wanting to follow in your footsteps?

Six Drummers: “Never forget to enjoy yourself, or at least try.”

Skrufff: What has been your greatest achievement?

Six Drummers: “Playing Ravel’s Bolero on a food processor.”

Skrufff: What’s the meaning of life?

Six Drummers: “Having kids. And making them too.”

Skrufff: What are your expectations about Sochi: what do you hope to achieve/ experience from the conference?

Six Drummers: “We’ll do a collaboration with a DJ we’ve been interested in for a long time: Johanna Olofsson. Our performance combines remixes, food processors and live drumming, and we believe it will be impossible not to dance to.”

In Sochi, Six Drummers will be Sanna Persson-Halapi, Fredrik Myhr, Anders Vestergård, Ola Simonsson, Johannes Stjärne Nilsson and DJ Johanna Olofsson.

http://sixdrummers.com/

Jonty Skrufff (Skrufff.com)

Skrufff Editor-in-chief Jonty Skrufff is also the international representative for the Sochi Winter Music Conference, which takes place next weekend in Russia (February 9-12)

Bojan (click for more)

Bojan Boskovic is a one of the key characters in Serbia’s recent much troubled history, having co-founded Exit Festival – the festival which started as a student protest but turned into one of Europe’s most critically rated- and successful- music festivals.

Skrufff (Jonty Skrufff): When you started Exit, how much did you start off with a clear vision?

Bojan Boskovic (Exit Festival): “We had a clear vision of removing the dictatorship in 2000. This is how we started. The project had a new vision once the regime has changed. The new beginning and the dream was to become a relevant festival. This happened in 2001.”

Skrufff: How big a role has luck played in your life/ career?

Bojan Boskovic (Exit Festival): “I have no idea. I think luck is important. But it also something that follows brave people. We had more brains than luck, in my humble opinion.”

Skrufff: What’s been the hardest obstacle you’ve had to overcome?

Bojan Boskovic (Exit Festival): “The political mindset in Serbia.”

Skrufff: What’s been the biggest mistake you’ve made; and what did you learn from it?

Bojan Boskovic (Exit Festival): “Never to mix beer and vodka. Do they do so in Russia (smiling)?”

Skrufff: How superstitious are you?

Bojan Boskovic (Exit Festival): “Not at all. I am an atheist.”

Skrufff: What advice would you offer someone wanting to follow in your footsteps?

Bojan Boskovic (Exit Festival): “Don’t go there.

Skrufff: What has been your greatest achievement?

Bojan Boskovic (Exit Festival): “Ability to be over-productive over the course of 15 years, to create a lot of projects, meet crazy people, employ friends and be an inspiration; To improve things; Change things; To make a revolution; To make a movement.”

Skrufff: What’s the meaning of life?

Bojan Boskovic (Exit Festival): “42.”

Skrufff: What are your expectations about Sochi: what do you hope to achieve/ experience from the conference?

Bojan Boskovic (Exit Festival): “I hope to lose my virginity: Finally.”

http://www.exitfest.org/

Jonty Skrufff (Skrufff.com)

Skrufff chief Jonty Skrufff is also the international representative for the Sochi Winter Music Conference, which takes place next weekend in Russia (February 9-12)

Duncan Dick (click for more)

Duncan Dick (Mixmag Deputy Editor) The Key Questions

Duncan Dick joined British magazine Mixmag as a freelance writer in 2003, becoming clubs editor in 2005, features editor in 2007, then Deputy Editor in 2011.

As Mixmag’s occasional spokesman on the politics of rave he has called mephedrone ‘very moreish’ in front of 1 billion people on BBC News 24, incited civil disobedience in the Observer newspaper and once got into a shouting match with a representative of the Royal National Institute for Deaf People on the Today program on BBC Radio 2.

SWMC (Jonty Skrufff): how did you end up doing what you do today? (did you fall into music journalism or start off with a clear goal) and how did you end up working for Mixmag?

Duncan Dick (Mixmag): “While completing a law degree at University I realised that it was the writing I enjoyed rather than the law. I became clubs editor of the University newspaper, at one point writing a review of a new nightclub in Glasgow so scathing that it led to the resignation of several other newspaper staff.

After a year out temping in London I returned to University to do a postgraduate diploma in journalism. As part of my course I was required to do some work experience. Rolling Stone circa 1971 was sadly unavailable so I reckoned Mixmag was the next best thing. Work experience led to regular freelancing, which led to a staff position.”

SWMC: how big a role has luck played in your life/ career?

Duncan Dick (Mixmag): “I’ve been lucky to work under some very good editors who have each taught me a lot and also shown faith in me. Generally I have been lucky in that I’ve been healthy up ’til now – and I realise every day how lucky I am not just to be paid for doing something I love, but just to have a job at all.”

SWMC: What’s been the hardest obstacle you’ve had to overcome?

Duncan Dick (Mixmag): “For someone whose work involves a lot of networking and, of course, interviewing people, I’m actually quite shy. Also for someone who spends so much time in nightclubs I am a truly awful dancer.”

SWMC: What’s been the biggest mistake you’ve made?

Duncan Dick (Mixmag): “These all involve travel – turning up at the airport 12hrs late for a press trip to Singapore after getting confused by the time on the ticket, going to Gatwick rather than Heathrow for a trip to LA after getting confused… etc. I now get someone else to check the travel details with me! And I always get to the airport in loads of time – just in case it’s the wrong one.”

SWMC: How superstitious are you?

Duncan Dick (Mixmag): “Medium – I don’t walk under ladders, am very fond of black cats and try not to wish bad things on people in case it rebounds on me.”

SWMC: What advice would you offer someone wanting to follow in your footsteps?

Duncan Dick (Mixmag): “Go into a higher paid career. If you absolutely must get into magazine journalism, be prepared to do work experience or an internship. Make sure your grammar and spelling etc. is perfect as nothing turns editors off more than lazy, slack writing. Have a look at this webchat I did for the Guardian which goes into lots of detail on this subject. http://careers.guardian.co.uk/music-journalism-best-of

SWMC: What has been your greatest achievement?

Duncan Dick (Mixmag): “No idea, but I wrote a book on Copenhagen’s Coma club last year which gave me a real sense of achievement, especially since I completed it in about ten days.”

SWMC: What’s the meaning of life?

Duncan Dick (Mixmag): “It’s up to each of us to decide.”

SWMC: What are your expectations about Sochi: what do you hope to achieve/ experience from the conference?

Duncan Dick (Mixmag): “I’m absolutely fascinated by Russian club culture and Russian culture as a whole and I can’t wait to see the town and the landscape. I’d like to get some great stories that will enhance the magazine and work on a strategy to cover more Russian events and stories in Mixmag in the future.

I’d like to meet the people who drive the Russian scene, and I’d like to spread the word about the new Mixmag app, which allows people all over the world to download the magazine to their iPad or iPhone ( www.mixmag.net/digital ) – it means that Russian clubbers can get each new issue the day it comes out rather than wait ages for an expensive import.”

http://mixmag.net

Jonty Skrufff (Skrufff.com)

Skrufff chief Jonty Skrufff is also the international representative for the Sochi Winter Music Conference, which takes place next weekend in Russia (February 9-12)

Tim Metz (click for more)

Tim Metz (Dancetrippin) The Key Questions

Tim Metz (30) is co-owner and Director Marketing & Operations of DanceTrippin, the only dance-music content platform to operate both a highly popular international website and a 24/7 dance music linear TV channel.

SWMC (Jonty Skrufff): How did you end up doing what you do today as marketing director of Dancetrippin? (Did you fall into it or start off with a clear vision?)

Tim Metz (Dancetrippin): “For me personally it started off with lots of parties and I fell into it from there. Dancetrippin started with the sense that there was a better way to capture the spirit of parties and good DJs in video and audio than what was being done at that moment by the MTVs of this world. But there was not a clear vision for a business model at the start, just cool videos.”

SWMC: How big a role has luck played in your life/ career? (What’s been the luckiest break that’s happened to you?)

Tim Metz (Dancetrippin): “I think the luckiest break in my life has been that I was born in Holland in the early 80′s and not in Africa or large parts of Asia (at that time). I don’t mean that in a sarcastic or demeaning way: it’s a lot harder- if not impossible- to achieve anything if you’re born under very bad circumstances and/or totally in the middle of nowhere. Besides that there is always some elements of luck here and there, but also a lot of hard work has been involved.”

Dancetrippin; click for DJ mixes

SWMC: What’s been the hardest obstacle you’ve had to overcome?

Tim Metz (Dancetrippin): “Learning to refuse the free parties and alcohol. Seriously: to convince people that what we were doing was actually going to be liked / enjoyed by people (“Who’s going to want to watch a DJ and dancing people for more than a few minutes?!” – we still get that attitude, but much less than a decade ago).

SWMC: What’s been the biggest mistake you’ve made?

Tim Metz (Dancetrippin): “Refusing most of the free parties and alcohol.”

SWMC: How superstitious are you?

Tim Metz (Dancetrippin): “I’m not superstitious at all, I’m more off a southern Dutch farm-boy, pretty grounded (most of the time). Although I do believe in other levels of consciousness and time that we can’t really comprehend yet, but once we figure that out it will have nothing to do with superstition or religion anymore.”

SWMC: What advice would you offer someone wanting to follow in your footsteps?

Tim Metz (Dancetrippin): “Firstly figure out what it is you really want to do in life (watch that Steve Jobs Stanford commencement speech for details: http://bit.ly/cdJDIf ), then pursue it with dedication, passion and hard work until you either succeed or fail. And if you don’t know what it is you want to do, go travel for an extended period of time, without any old friends to far-away places. You’ll either discover what it is you want to do, or you’ll get to appreciate your old life more and settle for that.”

SWMC: What has been your greatest achievement?

Tim Metz (Dancetrippin): “Personally there’s still lots to do, but from the company perspective our greatest achievement so far is that we’ve managed to launch our 24/7 dance TV channel through satellite and cable across Europe in 2011. That was a dream for a long time and it’s great to see that turn into a reality after all those years.”

SWMC: What’s the meaning of life?

Tim Metz (Dancetrippin): “There is no meaning, that’s our brain tricking us. In the end we’re still just a (special) kind of animal.”

SWMC: What are your expectations about Sochi: what do you hope to achieve/ experience from the conference?

Tim Metz (Dancetrippin): “It will be my first time in Russia so I am excited to get introduced to Russian culture and besides that I hope to meet a lot of interesting people to learn from and have some fun with.”

DanceTrippin TV Channel | 24/7 dance music television: http://www.dancetrippin.tv

DanceTrippin iPhone

http://www.facebook.com/dancetrippin.tv

Jonty Skrufff (http://skrufff.com )

Skrufff chief Jonty Skrufff is also the international representative for the Sochi Winter Music Conference, which takes place next weekend in Russia (February 9-12)

Carl Loben

Carl Loben (DJ Magazine): The Key Questions

Carl Loben is a Contributing Editor for DJ Magazine (UK), manages Liverpool electro-blues act Killaflaw, produces and DJs and also runs acclaimed independent label Westway with Barry Ashworth (Dub Pistols).

SWMC (Jonty Skrufff): How did you end up doing what you do today? (Did you fall into music journalism or start off with a clear vision, ambition?)

Carl Loben (DJ Magazine): “At the beginning of the 1990s, I’d be reading (rock weekly newspaper) NME and thinking ‘I could do that’. I was a dole-scrounging layabout, political activist and embryonic raver and DJ, but would see nothing written about the emerging dance scene in the UK’s music press. I wrote some sample articles and sent them off to Melody Maker and NME – the rival weekly ‘inkies’ at the time – and fortunately Melody Maker took me on.”

“I suppose I wanted to turn the world onto the wonders of acid house. I soon got waylaid by the nascent drum & bass scene, Skunk Anansie, and the bonkers breakbeats of Squarepusher, but remained at Melody Maker for most of the 90s as one of their dance specialists until a horrendous, bullying rugby-playing oaf took over the editorship and took it down the toilet.

By then, I’d been writing for other dance magazines such as Generator, DJ and Wax, and I fell into doing more and more freelance stuff for DJ until I ended up on the staff – where I’ve remained pretty much ever since.”

SWMC: How big a role has luck played in your life/ career?

Carl Loben (DJ Magazine): “I guess I was lucky to get in on Melody Maker and have a mad time reporting on electronic music in the 1990s, when it was all so fresh and new. In fact, I guess much of my career over the last 20 years has been one long ‘lucky break’ – doing something that I love and am passionate about.”

Killaflaw; click to listen

SWMC: What’s been the hardest obstacle you’ve had to overcome?

Carl Loben (DJ Magazine): “Persuading indie-rock blokes at Melody Maker to give page space to dance music isn’t quite up there with conquering Everest, but that was a bit of a battle sometimes.”

SWMC: What’s been the biggest mistake you’ve made?

Carl Loben (DJ Magazine): “It was probably when I was at my most evangelical about drum & bass, and painted myself into a corner as ‘the drum & bass bloke’. I learned that you should give full expression to various different interests.”

SWMC: How superstitious are you?

Carl Loben (DJ Magazine): “I’m not really that superstitious, although I never walk under ladders. Or let black cats cross my path.”

SWMC: What advice would you offer someone wanting to follow in your footsteps?

Carl Loben (DJ Magazine): “Don’t, unless you’re really dedicated to promoting new music. It’s not easy to become a full-time music journalist these days – the game has changed. To start with I’d probably suggest not to give up the day job, and to expect low pay for an eternity. Little thanks or credit, stress, and these days not a great deal of glamour.

SWMC: What has been your greatest achievement?

Carl Loben (DJ Magazine): “To have experienced a rollercoaster ride in EDM over the last 20 years, helping to document some of the amazing music and culture along the way.”

SWMC: What’s the meaning of life?

Carl Loben (DJ Magazine): “42.”

SWMC: What are your expectations about Sochi: what do you hope to achieve/ experience from the conference?

Carl Loben (DJ Magazine): “I’ve never been to Russia before, and the main things I’ve heard about the dance scene are from wicked Russian DJ Lady Waks (St Petersburg’s In Beat We Trust) and visiting UK breaks ‘n’ bass DJs like Terry Hooligan.

So I’m hoping to learn more about the Russian scene, meet some of the movers and shakers, and celebrate the international nature of our great scene. Anything I can contribute I’ll be willing to share (about DJ magazine or otherwise), and I’m expecting to drink more than my fair share of vodka.”

http://djmag.com

Jonty Skrufff (Skrufff.com)

Andrei Osyka (click for more on Culprit)

One of the more prominent and international events taking place at next weekend’s Sochi Music Winter Conference 2012 will be the showcase of LA’s stellar label — Culprit.

The showcase will feature Ukrainian expat Andrei Osyka, leader of the mighty Droog collective and label owner of acclaimed underground tech-house label Culprit. Also releasing on the likes of Crosstown Rebels, the trio of Andrei and fellow Droogs Brett Griffin, and Justin Sloe have held residencies at LA’s Avalon as well as touring the world spinning events including Sonar and Miami’s Winter Conference.

Chatting to Skrufff this week on the eve of SWMC, Andrei admits it’s an event he’s particularly looking forward to.

“I’m a native Ukrainian so that part of the world is dear to me, my family still lives there and I still consider myself as a carrier of the culture,” he explains.

“I’d love to be able to support the development of proper dance music culture in the former Soviet lands, as much as I can. This is my first trip to Sochi for SWMC and I’m excited.”

Skrufff (Jonty Skrufff): How much more pressure do you feel performing there compared to anywhere else?

Droog (Andrei Osyka): “I’ve never performed at SWMC but I don’t feel pressure to play in Russia or in Ukraine, in general, quite the opposite. There is still a fresh feeling about performing there, the crowds are very receptive, even more so because I am someone with a similar background to them but also am a foreigner at the same time, so it’s a somewhat fascinating scenario, I imagine. There is no pressure, just lots of fun.”

Skrufff: Why did you decide to leave Russia and why did you settle in the US and LA in particular? (why not New York, or Berlin?

Droog (Andrei Osyka): “I left Ukraine when I was 16 for reasons that had nothing to do with what I’m doing now in life. Back then was a more chaotic uncertain era and as teenager, my family sent me to the US to get a ‘proper’ education, to learn a different way of life. Which I did, on both counts. I ended up in Los Angeles when I was 24 looking for new adventures and an alternative to the corporate job that I’d had up until then. And I’ve never looked back. Los Angeles has become my home. And why not? If you ever come to LA in January, you would understand.”

Skrufff: You had a residency at Avalon as Droog years before the Guetta/ pop-dance scene exploded; how much have you guys been affected- is it filtering down to your scene much?

Droog (Andrei Osyka): “There has always been plenty of cynical mainstream dance music, but yes, the last 3 years have seen that one particular brand of it completely dominate big venues and events in the US. It doesn’t affect what we do in the slightest; it’s a completely different world. But the genre of dance music we play and support has also become more popular, at least for less commercially minded people. The overall scene here has grown, definitely, and bigger event promoters are more willing to get us involved in their massive parties. Which isn’t always a bad thing.”

Skrufff: Having moved to LA, how has it changed your understanding of how foreigners view Russia?

Droog (Andrei Osyka): “There are plenty of stereotypes about Slavic people, there always have been, always will be. Not all of them are incorrect either. It’s just a weird place for a lot of those with no reference point about Russian/Ukrainian culture or history. And it’s ok…the reverse is also true, Americans are misperceived plenty.”

http://www.youtube.com/watch?v=mgXVDyardfU (Live @ Avalon)

https://www.facebook.com/CulpritLA

Jonty Skrufff: http://listn.to/JontySkrufff

Special Case (Roustam stage left)

“Basically Russia is a large country with tremendous resources and almost unlimited opportunities. If the majority of the club industry stops striving for the lowest possible denominator with which to earn money, we will have a music scene to rival that of any other big electronic scene in the world.”

Growing up listening to Mid-western house and rave techno as he divided his time between Detroit and Moscow, Roustam Mirzoev received an impeccable grounding in electronic music, honed his knowledge still further after he opened a record shop in St Petersburg.

Promoting parties in Russia along the way, as a DJ he became well known for spinning acclaimed back 2 back sets with many of his headline guests such as Matt Tolfrey, Clive Henry, Valentino Kanzyani, culminating in him dipping his own toes in production in 2010.

“I recorded a track called ‘round:about’ just before Kazantip of 2010 with some gear I got for my birthday and sent it to a lot of my DJ friends just for fun,” Roustam recalls.

“To me I considered the track as already a great success and the highest point in my (then-non existent) musical career when Rhadoo played it with [a:rpia:r] one morning at Kazantip, during what was probably the most amazing Z-session ever,” he smiles.

“Honestly I thought that would be the pinnacle of my music career and I was happy with it.”

“Then to my surprise I came home to find an email from (Droog producer) Andrei Osyka, which included a video of him playing the track at LA’s Avalon and the place just exploding. He wanted to sign it to Culprit immediately, which was more than I’d ever hoped for, for my first real production.”

Long-term friend Arram Mantana also loved the track, introduced him to fellow Russian producer Tripmastaz and a mutual passion for each other’s music led to the trio teaming up as Special Case.

“I knew Arram from way back in the day when he used to buy records from me at my record shop in St.Petersburg and we’d stayed in touch ever since,” Roustam recalls.

“Anyway they made a great track with Tripmastaz which became Aurum — I knew immediately it was going to be a hit and would fit perfectly with the Culprit sound.”

“So I sent it to Andrei and he also loved it right away. After some deliberations (doing a split EP, etc) we just decided that we’re going to start our own brand new thing and to see how our three very different styles and creative approaches to music production and DJjng would turn out. The rest is as they say history.”

18 months on, they’ve released a follow up single with Tiefschwarz’ Souvenir Records and continue to work closely with Andrei Osyka and his label Culprit, performing together next weekend at Culprit’s label showcase at the Sochi Winter Music Conference (Saturday February 11). Musically, Roustam personally leans towards a ‘more minimal, reduced sound’, though Special Case he points out is different.

‘The concept for Special Case is simple,” he chuckles, “We make dance music for orgies.”

Skrufff (Jonty Skrufff): Starting with your upcoming show at Sochi Winter Music Conference (SWMC), what’s your perception of SWMC and its importance for Russian nightlife?

Special Case (Roustam): “This is my 5th year coming to SWMC and I think its importance can’t be overstated enough. It really brings the crucial majority of important nightlife professionals together for one awesome weekend in Sochi. For me personally it has lead to great panels, some of my most favorite and memorable gigs amongst my peers and really helped with my DJ career and bookings as many promoters discovered my sound during some of the night time SWMC events that I’ve played before.”

Skrufff: How has the event changed over the years? Are the Winter Olympics having much of an effect yet?

Special Case (Roustam): The conference is definitely improving every year. The quality of the daytime panels is becoming increasingly relevant and more interesting with every year that passes. Nighttime events are definitely also improving in quality. This year with the big foreign presence in both I think it will be the best and most diverse conference yet. As far as the Olympics I haven’t felt much effect yet, except for increased traffic and construction. Maybe this year we’ll see something else.”

Skrufff: Most dance producers work solo or in pairs: why did you decide to do a trio? 

Special Case (Roustam): “We’re quite different in our styles. Tripmastaz is on a housier vibe, he’s good friends with DJ Sneak, releases on his Magnetic label, has been on two Fabric compilations and numerous great labels and out of the three of us is the most technically proficient in the studio. His skills make it possible for us to quickly realize our ideas and projects in the best possible ways in the studio.

Arram has been a veteran of the tech house scene in Russia for the longest time. I remember just starting out, going to his sets and he was already a legend, very much respected by his peers and a renowned DJ. I grew up in the States and have lived all around there and Russia — and have gone through everything from Midwestern rave techno to New York house, owever, I lean towards a more minimal, reduced sound these days (laughing).

What can I say, I spend a lot of times with Romanians who have influenced me a lot and also taught me just as much, I feel privileged to have their support and friendship to rely upon — plus I get sent the most amazing music.)

So these quite different three styles can lead to very excellent results that have a unique and “special”, if you will, sound. That is when we don’t try to strangle each other — we’re quite passionate guys when it comes to music.”

Skrufff: How do you physically work together in terms of making music?

Special Case (Roustam): “As far as working together it’s always different — sometimes the guys will create a track, sometimes I will do one, at other points I’ll send them a piece I’ve been working on and they develop it, or I’ll be in the studio with Tripmastaz when I catch him during some tour stops in Moscow or St.Petersburg.

But honestly we’ve never sat down the three of us to make one specific track in one room — this is something that lies in the future and we’re excited, but kind of nervous about it. It’s always been two in the studio, one over the internet or in some other capacity. But I’m kind of anxious to see what happens when all three of us finally come together and we don’t set the building on fire. This may lead to our beat work yet.”

Skrufff: SWMC’s very much intended as a gateway event: what’s your view of the Russian club scene today; how different is it (if at all) from scenes in say Germany or America?

It’s quite a unique scene. I think that Moscow sometimes has an excess of great parties and bookings — no matter how much the locals complain, almost every weekend there are amazing parties in great clubs with cool artists. We’re a bit spoiled over there in the capital I think. Unfortunately for the regions it can’t be the same — it’s very commercial and rarely do they book interesting foreign artists.

While the many of the local “Russian stars” that haven’t done anything worthwhile on the global scene or the Russian scene in years, but were just some of the first ones starting out back in the day — which lead to their popularity, enjoy a healthy touring schedule and quite large fees (our domestic market doesn’t make any sense to most foreigners).

So the regions I think have still a lot of room to grow and the local promoters, residents and clubbers are quite behind unfortunately. Which doesn’t mean there aren’t amazing places and people, but of such a large country it’s quite sad. SWMC actually helps that out quite a bit as it brings in promoters and DJs from all over Russia and this year particularly will expose them to some fresh new ideas and music.

Resident Advisor; click for more

Skrufff: Mixmag, Resident Advisor and DJ mag are all coming out; how much attention do you and your peers pay to these media; how much influence do they have on Russian clubbers and music fans?

Special Case (Roustam): “I don’t know about my peers, but I read Resident Advisor regularly. To me it’s the most professional, objective and relevant publication that fits my tastes and preferences in music. It also gives me new information about some other styles, genres and artists that I wouldn’t normally check out, but they present it in a great way and I can’t complain.

The other ones I’m used to reading more in print and unfortunately they don’t have versions in Russia, so I haven’t been following those as much lately. As for Russians — if they would read more RA and listen to more RA podcasts etc., I think it would only serve the industry better. Perhaps some would even know that their fellow countrymen got a great review of their debut release on RA, for example:)

Skrufff: How much has the Russian scene been affected by the rise of cheap technology, making DJing- and music making loads easier: how much are you seeing (or do you expect to see) a new wave of Russian talent emerging?

Special Case (Roustam): “As much as everywhere in the world — in the worst possible way. No matter what Mr.Hawtin says about beat-matching these days, I remember catching his “decks, fx and 909″ tour and the man could mix some vinyl records before he became the golden technology god or whatever he is now. However, most young DJs don’t understand these processes here and I’m very saddened by the rise of those DJS uneducated in the history and culture of the art; talentless wannabees that illegally downloaded some music, bought the cheapest tractor box available and are playing horrible music on auto mix.

This brings pain to me and makes me very sad — it’s spreading like a bad virus. So not a lot of young djs are really striving to do much. I still drag a case of vinyl and some CDs with me everywhere and make sure it’s in my rider, to me this is essential for a DJ’s performance. I can’t picture myself these days without digging for old records in Chicago’s Gramaphone or ordering new goodies from Decks. This is part of what makes playing and performing special, most others sound, look and play the same boring bullshit.

However new technology has helped in the production field quite a bit and while there aren’t many new DJs I can point out (at least ones that have emerged in the last year or so) there are numerous young talents making some amazing music. Alongside established producers like Anton Zap, Nina Kraviz and our very own Tripmastaz, I see a great young crowd from all over Russia that are being adventurous and exciting with their music.

One of my favorites so far has been Unbroken Dub. 001A is another one to watch out for. He’s got a unique style. Our neighbors and close relatives, as I like to think, in the Ukraine are also full of great talents with Technique and Yaroslove and Etapp Kyle coming to mind right away. So I don’t know if we’ll ever take the world by storm via DJing (Special Case will certainly try — for me and Arram it’s essential), but production-wise the former Soviet Union is on the right path indeed it seems.”

Skrufff: Plans for the future?

Special Case (Roustam): “Just to conquer the world one EP and 12 hour dj set at a time. The third Special Case ep just got finished and we have big plans for that as long as several great remixes that we just finished for our friends. So we’re looking to expand on what we built last year and keep going.”

Special Case: Round:About: click here to listen; http://bit.ly/wh5PCJ

http://www.swmc.ru/ru/days_en/

Jonty Skrufff (Skrufff.com)

Paul Arnold

London club promoter Paul Arnold chatted to Skrufff this week about moving his Chew The Fat parties to East London’s Xoyo and also revealed that he’d been particularly inspired by a recent Skrufff interview with Tim Deluxe in which Tim chatted candidly about the reality of life as an international DJ and club star.

“I really enjoyed the Tim Deluxe feature because it was fascinating and very truthful,” he said.

“I forwarded it to a few artists I manage who are in very similar situations. It’s so frustrating managing an artist who has such good opportunities but goes through those similar issues. This article has been a great help for them knowing it’s not just them,” said Paul.

Tim Deluxe (click on the picture to read the interview in full)

Chatting to Skrufff last December, Tim, who in his 16 year career has had massive worldwide hits including speed garage smash RIP Groove and house anthem ‘It Just Won’t Do’, outlined the common breakthrough DJ formula he encountered.

“The irony is when you gain commercial success it drags you away from were you should be at. You see it time and time again in this industry,” said Tim.

“New producer/s makes hot tunes > blows up = gigs everywhere > remixes instead of original productions > tours too heavily > physically and mentally tired = no new records.

“Also add copious amounts of free alcohol and drugs and you’ve pretty much got the picture. Burn Out, Divorce, Addiction, take your pick! This cycle is so common.”

Similarly travelling the world as an in demand DJ for over ten years, Paul’s globetrotting adventures came to an abrupt end when he discovered he was suffering from leukaemia in 2007.

Now fully recovered Paul has now taken up long-distance swimming (while Tim does marathon running), though admitted one of his frustrations about his illness was discovering it was partially self-inflicted.

“A big frustration was the lack of knowledge I had, and that people still have about the risk of cancer and how it is caused, especially amongst people leading those party lifestyles,” he reflected.

“Most people thought I just got leukaemia by chance but it was definitely a disease brought on by lifestyle. People don’t understand that,” he said.

Chew the Fat returns to London at their new home of Xoyo on Friday February 10, headlined by garage legend MJ Cole, Foamo, Hot City, French Fries and a Donga presents Well Rounded Records Showcase (room 2).

(Read the Tim Deluxe Interview in full here)

http://www.thefatclub.com

Jonty Skrufff: http://listn.to/JontySkrufff

Arma 17 (click for more)

Dutch minimal tech-house type Lauhaus visits Moscow’ Arma 17 this weekend where he’ll be spinning alongside Skrufff mainman Jonty Skrufff and Russian producers Mike Spirit and Special Case.

Starting his career ten years ago, he was initially best known for being one half of minimal tech duo Polder, as well as being one of 6 men laptop collective “Amsterdam 661”, though nowadays is increasingly standing alone.

“In the beginning of my career Polder was definitely my priority, but in the last few years, it’s been more about my solo Lauhaus stuff. But David Labeij (his Polder collaborator) and me are still best friends, so Polder definitely isn’t over,’ he says.

“How do I decide between ideas for Lauhaus and Polder? It’s all about a feeling,” he continues, “but in general Polder is more techno heavy then Lauhaus.”

Skrufff (Jonty Skrufff): Starting with Friday’s Arma gig; what’s your expectation of the gig?

Lauhaus; “Arma is a famous club which I have heard about many times, so I’m definitely looking forward to it. I’m expecting an industrial underground club filled with an enthusiastic crowd.”

Skrufff: Now that thousands more DJs can instantly mix with Traktor synching etc: how much has this changed the game for your sets?

Lauhaus; “Before I used to play vinyl but for some years now I have changed to Traktor. And I have to say I really like it. It gives me many more options during my set; either when it comes to looping, EFX or music selection. But in general Traktor lowered the bar for people to start DJing which is a good thing.”

Skrufff: How important is performing? What you wear?

Lauhaus; “Performing and fashion is certainly an element of being a DJ but not the most important one. Sure I like to wear something fashionable and show my appreciation to the crowd, but you won’t see me dancing on the turntables.”

Skrufff: And how much are you always making a point of playing your own tracks in sets?

Lauhaus; “I prefer to play my own productions, but not too many. I like to keep it exciting for myself and for the crowd.”

Skrufff: How long does it typically take you to create a track/ do a remix? How much do you start with a typical ‘Lauhaus’ sound?

Lauhaus; “Normally when I find a good idea or concept for a track, it can go really fast. But fine-tuning always takes a while.”

Skrufff: It’s over 10 years since you started: how much has your day to day life changed? (how much of your time is spent on social networking?)

Lauhaus; “My day to day life has changed in the fact that I can spend all my time working on music and don’t have to go to my day job, which is great. Social networking is of course, very important, and you can’t do without it nowadays. So people can definitely find me on Facebook.”

Skrufff: Dutch mainstream trance DJs such as Tiesto/ Armin Van Buuren are now global pop stars; how much does their success influence/ or affect the club scene you’re in?

Lauhaus; “It doesn’t affect it much I think. The places and venues they play are totally different from where I play.”

Skrufff: How much of a temptation is it to dilute your sounds to emulate their commercial success?

Lauhaus; “I don’t work like that, I just do what I feel in the moment. I try to stay original with my music and not to get stuck in the past.”

Skrufff: What’s been the greatest gig you’ve done?

Lauhaus; “i would say playing in Watergate (Berlin) and Studio 80 (Amsterdam) are my favourite clubs. Great people and great vibe.”

Skrufff: And what’s been the biggest disaster?

Lauhaus; “well once I came close to a disaster on my way to Ibiza when my plane had to return to Amsterdam Airport twice on the same flight. Firstly because a bird flew into the engine and second time because the anti-freeze system had a failure.”

Skrufff: Given your name, was there a gothic period in your youth (ie Bauhaus)?

Lauhaus; “haha, no I was never a goth. Not my thing . .  . it’s just a nickname my friends gave me.”

Lauhaus DJs at Arma 17 on Friday 27 January (immediately after article author Jonty Skrufff).

Jonty Skrufff (Skrufff.com)

Click for more on Mugwump

“I’m pretty concerned about all the corporations taking control of the whole world and we’re obviously the batteries that are powering them, Matrix-stylee.”

Geoffroy Mugwump started his DJing/ music-making career in the 90s, pioneering Belgium’s New Beat scene though these days is as likely to produce disco as house, techno or whatever other style catches his interest. Working as Mugwump with Kolombo (aka Olivier Grégoire) he’s also one of Belgium’s recognized international DJs, yet despite his own personal popularity admits he’s more than a little worried about 2012.

“The future looks awful,” he sighs, “With a mix of the theories developed in science fiction movies and futuristic books such as Rollerball, The Matrix and 1984, all turning into reality.” (Click here to read George Orwell’s 1984 in full: http://www.george-orwell.org/1984 )

“Besides the huge and constant crimes of the financial institutions, the food, information and pharmaceutical industries are frightening, the self-effacement of the statesmen in favor of the lobbies is a reality and the only exit looks like being in the entertainment business. It’s a sad world,” he says.

Skrufff (Jonty Skrufff): What are your musical predictions for 2012?

Mugwump: “Hopefully some more really ‘forward-thinking’ and more mutant and diverse dance music will come into the spotlight again. There’s been some great e-funk house music from the (Crosstown) Rebels’ camp and its branches in there but all in all, the über-hype on mono-maniac, retro-nostalgic and generic, linear, drum-kit house music is now at saturation state. I like it deep but not dull: it’s getting ridiculous.”

Skrufff: What do you forsee is the future for dubstep: for David Guetta-style dance-pop?

Mugwump: “I have no magic ball for this but, I reckon the more young people will like mainstream pop-house music, the better it is for later as they should later progress onto more underground dance music, hopefully. As for dubstep, I’m not based in the UK nor really following it but I sometimes do play some killer cool techno dubstep stuff from the likes of Hyetal or Instra:mental.”

Skrufff: What about the financial crisis; what do you expect for next year? 

Mugwump: “Obviously a huge mess in Europe awaits. And given the fact that the Obama administration has reconfirmed all the deregulation craftsmen at decision-taking posts at the start of his mandate and since the US notation (credit rating) agencies that had a pivotal role in the 2008 crisis are now firmly playing against the euro zone, I can’t see it getting any better this year.”

Skrufff: How much do you believe in destiny/ fate generally? What’s been the biggest stroke of luck/ serendipity you’ve experienced?

Mugwump: “I have to be thankful to the fairy who’s taken care of my destiny lately, I’m very lucky really, that’s all I can disclose (smiling).”

Mugwump’s (brilliant) remix of CCC’s Acid Snow is out this January (click here for more information; http://bit.ly/vACF65 ) followed by AKA JK 26002600″ Mugwump rmx (throne of blood) in March (click here to listen: http://bit.ly/sYVmfN )

http://www.leftorium.be/