The ND Interview: DFRNT
Posted on July 12, 2011 by Andy
So, Alex, Describe the DFRNT sound in 5 words…”
“Deep sounds for discerning listeners”
When did you first start producing and do you feel your outlook on production in regards to the music you make has changed at all?
“I started producing mashups around 2003 and then developed towards using more and more of my own sounds within each track, till it was unofficial remixes, and then ultimately my own entire productions. I used to look at it as a bit of a joke – trying to create nonsense that would make people laugh. Christina Aguilera mixed with One Note Samba and all sorts, but now I’m taking things a bit more seriously. Producing stuff that I feel works emotionally, and also just expressing myself. I take the sound, mix-down and mastering far more seriously now, whereas it was previously just a case of throwing a few things together and seeing what happened.”
The name is a fairly bold statement for those looking for music beyond the norm. What would you say was DFRNT about your productions?
“Man, I’m not even really that sure. I never intended the name to be a statement of any sort really. I just wanted something that wasn’t “Alex C” since I was forever being mistaken for a German trance music producer, so I wanted something different. I liked what MSTRKRFT had done with the name, so decided on DFRNT. Little did I know that when I got in to my production they would end up being somewhat different to other stuff. I’m forever being told by people “oh, I like your stuff it *is* actually *different*” – to which there are usually some awkward chuckles, followed by a sigh on my behalf. If I could go back to when I came up with the name, and choose another, I would but I feel like it’s a bit late for that now.”
You are known for making predominantly ‘deep’ & ‘atmospheric’ bass music. What influences you to create this and do you feel that ‘deep’ music can work on the dance floor?
“Firstly, I do feel very strongly that deep can work on a dancefloor – I do however worry that most people don’t “get it” and so really I think clubbers need to be more open to deepness, as opposed to just wondering why their ears aren’t bursting with mid-range crap. Lots of people don’t take the time to really listen to tunes when they’re out – they just want a 4-4 thud to mong-out to, and I think it’s a nightmare. I don’t mind getting my rave on now and again, but I really wish I had audiences who were more up for hearing deep tracks, where they can dance to something without needing a stupid bassline, or where they really like to get in to a groove, as opposed to a noise – almost where deep house works on a dancefloor. That sort of groove based enjoyment as opposed to something like electro or drum & bass where most nights just taylor for the tearout crowd.”
“As for my own influences – I’m a huge fan of 90s house, and from there developed a love for progressive house and dub-techno as well as downtemp and chill out stuff – in fact anything with some nice chords and pads. So I guess those influences fused with what I’m hearing from dub, and a new stack of producers in the dubstep and garage game and welded together with a bit of my own feeling and emotion is pretty much where I am right now in terms of a sound. Going forward though – I’ve no idea where it will go. I’m going in a number of directions right now, and after thinking I had my direction and sound nailed, I’m now evolving again and working on a huge vareity of stuff.”
You’re a pretty multi-faceted guy, you produce, DJ, write and run & manage a label (Echodub & Cut). What do you enjoy doing the most?
“I think at the root of my label stuff, DJing, podcasting and blogging lies this deep-rooted desire to show people music that they’ve not heard before but that they will love. It’s what I used to do growing up – I’d find out what bands or producers people were in to, and I’d put together a mixtape of tracks that I knew they’d like based on their existing tastes, in an attempt to help them widen their musical horizons. I love discovering new music, and so if I can help other people do that – then that’s perfect. I get a great feeling from it. The best feedback I get is when people email or message me to say I’ve helped them find new music that they enjoy.”
“As for my own productions – that’s more of a release. A reaction to what I hear and my own attempt to make music that people might enjoy – but really it’s a personal thing, whereas the labels, blog, DJing and podcasting are selfless – they’re my way of letting others hear what I enjoy, and more importantly what I think they’ll enjoy (presuming they’re in to it because they rate my stuff or whatever).”
What is the ‘bass-music’ scene like in Edinburgh / Scotland as a whole compared to those you have seen on your travels as a DJ?
“Grim. Very grim. I don’t think a “scene” exists – and to be honest it’s a shame. Edinburgh’s a beautiful city, but we lack good venues. We have one or two that are worth running a night at, but there’s really only a handful of people trying to push deeper stuff. Most of the parties involving dubstep (either coupled with drum & bass for some stupid reason, or alongside electro – which is arguably worse!) are just putting out lowest-common-denominator wobbly mid-range bullshit designed to make people go mental. Scotland as a whole isn’t much better – but Glasgow has a few nights that are promoting proper more traditional or deeper dubstep – although I don’t think they’re doing particularly well either.”
“That said, I think we have production on our side. With a few great producers coming from Scotland, we’re definitely upping our game in that department, but it seems like most producers and good DJs up here are spending more time DJing outside of the country than inside.”
“I don’t expect many places to be much different to be honest – it’s not like Edinburgh’s the only place with floppy-haired ugg-wearing “daddy-says” Jack Wills ponce-abouts who can only enjoy tearout.”
“Some of the best gigs I’ve played have been in Manchester – there seems to be more people willing to go out to a deeper night. Either the promo is better, or the community surrounding that type of stuff is better. Outside of the UK I’ve played a few great gigs in the USA – specifically in the smaller areas, where people tend to go to a night regardless of DJ or affiliation – then they’re at the mercy of the promoter, but if the promoter is in to the deeper stuff – people are always seemingly really up for it. There’s more of a community aspect in the areas outwith the big cities. I like that in a way, provided there is enough people to fuel a night or two. Edinburgh lacks even that – if we have more than one dubstep night on in an evening – the same crowd just gets spilt between the two, or they all favour one over the other. It’s not like more people go out.”
“It’s a shame really, because I’d love to improve the scene in Edinburgh and Scotland – but it’s not as easy as that unless you’ve got shedloads of cash you don’t mind throwing down the drain for a while, in order to build up a night with a bit of a reputation, in a venue that’s not terrible.”
Your logo is a stag. It’s quite an iconic image and is replicated on the cover of the EP, but what does it mean?
“I wanted something that was Scottish, but not strictly scottish like the flag, or a haggis, or a fucking kilt or something. I wanted something that hinted at the Scottish roots (hence the oft-used tones of blue too) but wasn’t overkill or tacky. The stag works for me in varying formats. I also like the almost high-class brand look and feel, and people seem to recognise the marque now, so I’ve got no real plans to change it. Perhaps develop it a bit, but yeah it’s working for me, thankfully.”
Nu Directions are a drum & bass label by nature. Why did you feel that it would be the right home for your music?
“I love the design of the label and the look and feel Nu Directions has on the go – After the Unquote remix working out so nicely, the EP seemed to fall in to place, and I’m pretty confident that it always helps a label to branch out – and it’s an honour in a sense to be a label’s first artist that changes the direction. I’m just hoping the D&B heads will be able to enjoy it.”
The EP covers quite a broad spectrum of ‘Bass-music’, but which is your favorite track and why?
“That’s a tough call, since I really enjoy them all – I’m a big fan of Faster Daddy though – I was in such a good mood when I produced it and it came out exactly as I had hoped it would. It’s something I’m always happy to play out to a crowd and it’s just got that great balance of weight with the chords and melody on the top.”
At the Nu Directions HQ we were first aware of you through your debut album ‘Metafiction’ released a couple of years ago. Since then you have released quite a few singles and EP’s across quite a broad selection of labels. What, in your eyes, would you say is your greatest musical achievement to date?
“Well my biggest achievement was previously the label. Following that, my 15 minutes of fame on the Mary Anne Hobbs show when she asked me to do a mix was a big achievement for me personally. I guess there have been a couple of points after that – last year I was booked to play New York, and did a 2 hour set at Club Love in SoHo, which was a big deal for me, and then shortly before that – getting to travel to Puerto Rico with Rob Sparx and play a few sets with him was quite humbling too.”
What’s next for DFRNT? Do you have another ‘Metafiction’ up your sleeve?
“I keep thinking about working on another album – and I have a number of tracks that might work, but I just need to keep ploughing through and getting them done to a point where I’m happy with them. I have a number of ideas for things like ambient albums, or more dubby stuff, and even going a bit orchestral – but whether any of these will prevail is another question. I have a couple of other aliases building steam at the moment, and I’m also looking at doing some special stuff with Echodub and Cut – but yeah, from a DFRNT point of view I’m just taking it as it comes really. I have a few digital releases this year on a few different labels, plus working on 3 brand new techno-ey tracks for a new vinyl, which will likely drop in 2012.”
‘Emotional Response’ is out 25th July on limited edition CD & Digital download. Check below for audio.
