Audio-Technica design and manufacture professional headphones, phono cartridges, microphones and other audio equipment.Visit Audio Technica
Belgian beatsmith who can lock down intimate basements as well as he can vast festival stages.
If you buy records on a weekly basis, it will happen that your favourites change very quickly
Obviously I have my favourite records, but as far as value goes I don’t really think so. Almost every record I bought, I bought for a reason. I must admit I don’t really buy a lot of vinyl to play out in a club anymore as I’ve switched to USBs for the biggest part about a year ago.
So my favourites are always very varied as far as style goes. I still buy a lot of records, but more experimental stuff. Ambient, drone, minimal synth. That kind off stuff.
A lot of things influence me. At the moment I’m into a lot of old minimal synth stuff again, but that can change in the timeframe of a day. If you buy records on a weekly basis, it will happen that your favourites change very quickly. Which I think will ultimately change the way you DJ and listen to music or even produce. Which is not a bad thing I think. If I had to pick a favourite right now it’s Sam de la Rosa – ‘Chameleon’. It’s a mix between weird ambient droney stuff with vocals.
‘Enigma’ I made with a bigger floor in mind, while 'Do It Anyway' was made for a more intimate vibe.
There are definitely records I’d only play if the crowd is fully into it. You usually get a pretty rough idea if you can pull it of in the first half hour of your set I think. A good example is ‘Acid Eiffel’ – Choice, a super long acid cut with beautiful pads, but something that doesn’t really work on every floor. I don’t really think a certain club is suited for certain records. I think the crowd is the most important thing. Not so much the club.
Mathew Jonson’s ‘Level 7 (Dixon remix)’ is I think one of my favourite records from the past months and years. It works everywhere in my opinion, and for that reason I don’t think it’ll ever leave my bag. It’s just full of energy and can get almost every crowd going.
When producing, I usually just go with the flow, but it’s true that sometimes I’ll make something with a bigger or smaller floor in mind. ‘Enigma’ I made with a bigger floor in mind, while ‘Do It Anyway’ was made for a more intimate vibe.
Along with cohort Andrew Weatherall, Sean has made sub-110bpm chugging disco one of the most talked about genres of recent times.
Mostly I value records from the days before Discogs – things that I had to hunt for a long time. The Patrick Cowley mix of ‘I Feel Love’, the dub of ‘Under Cover of The Night’ by The Stones, LB Bad – ‘New Age House’ on United Sounds of America. The Progressive Instrumental remix of ‘Relight My Fire’/‘Vertigo’ by Dan Hartman. A stack of Italo things that you had to be in Trax Records on the right Tuesday afternoon in 1989 to pick up. All sentimental value though, more than anything.
I have no ultimate favourite – the thrill is in the chase for the next one.
I have no ultimate favourite – the thrill is in the chase for the next one. I just go for the ones that make the hair on the back of my neck stand up! I have no real rules – if it’s good it gets played – but I do tend to hoard things for Croatia in the summer – things that you can get away with on a boat in the sunshine that wouldn’t normally work in a club. I’m thinking of the DJ T mix of ‘Lovework’ by Black Light Smoke, Robotaki remix of DJ Shadow & Little Dragon – ‘Scale It Back’, Mark E – ‘Magazine’ for example. The Unknown Cases – ‘Ma Simba Bele’ never leaves my back as it’s about as Afro Cosmic as a record could possibly be. I bought it in 89 and I’ve still not tired of it. The Carl Craig mix of Caribou blew me away when I heard it but got a very lacklustre response the first time I aired it, but really I just keep persevering with a record I believe in till folks get it.
Long Reads is sponsored by
Audio-Technica is a Japanese company that designs and manufactures professional headphones, phono cartridges, microphones and other audio equipment.