3LIAS & Ali Ajami

The Beirut superstars who rock the Lebanon with their house and techno selection check into DMCWORLD towers – complete with their massive new track on Bedrock. As cool as it gets!

 

Interview by Dan Prince

 

Elias, Ali welcome to DMCWORLD guys and congratulations on a wondrous new release on Bedrock. Where in the world are you right now?

Thank you so much, honoured to be here. We are in Beirut, Lebanon.

The best piece of new music you have heard today?

Tanjaret Daghet. A Syrian rock band based here in Beirut. Their new album to be released soon is out of this world.

So let’s get down to it, Lebanon in the house!! Your new release ‘Bring It Back’ is house music at it’s finest, Bedrock label boss John Digweed loves it so much he has been closing his sets with it all over the world. Please talk us through the sound and production of the track…

‘Bring It Back’ was actually our first collaboration, and took us 6 months to complete. The track went through several different processes, starting off with a simple jam session, putting together different ideas for the hooks and groove until we found the right one to build on (we used the Diva plug-in from U-He for the chords, the Novation Bass Station for the bassline, the 707 drum machine for some of the sounds, and Jomox Mbase for the kick).  Once the groove was in place, our good friend Sleiman Damien from Three Machines (who happens to be one of the most talented musicians and producers we have come across) joined us for a session, helping us tweak what we had to be the best possible, and we recorded a jam with him on the guitar (which we then edited into the guitar hooks that are in there). After that section was developed, we wrote the synth part (using the Waldorf Synth) to give the track more depth and a little change in direction. To give it a bit more of that live feel, we invited our friend Julian Naaman aka JOOL (another one of Beirut’s very talented up and coming DJ/producers) for another jam session to record the percussion. With all the main elements in place, we went into the final process of arrangement and sound design, adding and taking out sounds, testing out different options, until we felt we got it right.

Check it here…https://soundcloud.com/bedrock_rec/sets/beddigi89-3lias-ali-ajami

On remix duties and taking the tune into big room territory are Manchester’s OC&Verde, two super hot producers who’s recent ‘Maasai EP’ was a Tongy Essential New Tune. Why did you want these guys on board and what were your thoughts on their rework?

It was actually John’s idea to get them onboard, and we are so happy he did. We loved what they did. They turned the original into a peak time remix, which was perfect for the EP.

bedddigi89

Let’s rewind for a moment, you two have such a fascinating story behind you. Elias, you are without doubt one of the pioneers of the Middle Eastern house and techno scene for nearly two decades. What is your earliest musical memory?

My first musical experiences were through my family, through my father and uncle’s work. My father was a legendary folklore singer/dancer. And my uncle was a great composer, play writer, and director. So it was through their work that I have my earliest memories with music.

At what age did dance music first come onto your radar and how?

I was 12, and looking back, MC Hammer’s ‘Can’t Touch This’ must have been my first exposure to dance music.

You studied electronic music production and audio engineering, was music always the game plan for your life career?

I actually wanted to be a football player when I was kid, but as I got older, the music took over.

What did your family think of this choice, did they think you were crazy or did they see your undoubted talent?

At first, I faced quite a bit of pressure from my family regarding pursuing a musical career. Both my parents are artists, so they didn’t think I was crazy. But they were concerned with the challenges that come with it, and would’ve preferred a different path. But I persisted…and of course they supported.

Your legendary residency at the infamous BO18 has just ended but your legacy will run forever. How important has this venue been to you, what are some of your favourite memories and why was it time for pastures new?

B018 was my home. It was crucial in my development as an artist over the past 10 years. It gave me the opportunity to express myself musically on a weekly basis, push local talent, book international artists, build relationships, and contribute to the scene in Beirut through it. So it is a special venue for me, and will always be. But as the saying goes ‘all good things must come to an end’, and it was time for me to move on. Memories wise, there are honestly too many great ones in there to choose from.

One of your trademark skills are your 8 hour sets. I was speaking to Diggers in Ibiza this summer and he was telling me that when he is in the middle of a marathon set he is already planning 5, 6 tracks ahead…just like a chess player plans his moves. Is that how it works with you?

For sure. You have to be prepared first of all, and you have to plan ahead to be able to build momentum, take the dance floor to a peak, or on a journey. Maintaining a flow like that for that long requires a lot of concentration. If you lose track of where you are, or no direction of where you are going in the set, the energy and vibe in the place would be lost. Its not an easy task, but when its done right, it is a beautiful experience.

Ali, you’re up – but where do we start?!?! Let’s go back to the beginning and the first time you stumbled on electronic music…

The first time was through my older brother and his friends, when they played me Sasha & Digweed’s ‘Renaissance I’ in 1995. I was immediately hooked and was heavily influenced by that sound.

You moved from Lebanon to Florida early on in your life, you couldn’t have picked a better spot as the scene was really flying back then in that part of the US. Why did you choose Florida and what can you tell us about that early introduction to electronic music?

I chose Florida because of my older brother. He lived in Florida during the time I was applying to colleges and he recommended UCF in Orlando to be in the same state. So I ended up at the right place at the right time, frequenting legendary clubs like Firestone and Simon’s and events such as Zen Festival. I’m so lucky that that era was my introduction to the scene.

Your first forays into the world of events took place in a new territory, Montreal in Canada. Firstly, what took you there and tell us about the parties you launched…

It was summer of 1996. I just completed my first year in Orlando, and I went up to visit my best friend from high school in Montreal. I loved it and decided to move there a year later. By the time I got to Montreal, I had already picked up DJing and no one locally was playing the progressive sound we were into. So I launched LSM Productions with a group of friends and started putting on events, at places like High Bar and Stereo, to push our sound.

You enjoyed two infamous residencies whilst in Boston, Chrome and Avaland. How did those two clubs differ and who were some of the guests you enjoyed spinning with?

After a couple of years in Montreal I moved to Boston and that’s when things really took off for me. Chrome at Axis was the more underground club and Avaland at Avalon was more of the big room / big production experience, so naturally the sound for each differed. Being the resident at both was the best learning experience I could have had as a DJ. It pushed me to be versatile with my music, changing the style of my warm up set depending on the guest, developing my own style and approach and gaining proper knowledge of what works on the dance floor. Between the two clubs, I was fortunate to have had the chance to play alongside many of the artists I admired. And the dedicated crowd that was there made that whole experience even more memorable.

You then moved to Dubai…how much of a culture shock was that for you after Boston?

I wouldn’t say it was a culture shock since I spent some time in the UAE when I was a kid – but it definitely took some readjusting moving back. Dubai at that time was still at the beginning of its development, and the music scene in its early stages. So to have been there during that time was a great experience.

How do you think your production style has evolved over the years?

I think my experiences over the years have definitely changed my approach to music, but my production style is still the same. It is an area that I am actually redeveloping at the moment, and will hopefully evolve into where I would like it to be in the coming years.

After taking some family time off you returned to our musical hearts thanks to a move back home to Beirut. What were those interim years like for you without music?

Well they weren’t completely without music. They were interim years not being active in the scene, doing gigs or putting out any productions. But musically, those years were some of the most inspiring I have ever been through. And those years actually paved the way to what is happening now.

Guys, please give us each of your big 5 tunes of the weekend…

Ali’s:

1 – Vince Watson – Mystical Rhythm (VW20 Mix) [Everysoul]

One of my all time favourites that just got a re-release.

2 – Omid 16B – Pink Yo Black (Original Mix) [Alola}

A close friend switched me on to this one and has been one of my secret weapons, an older timeless dance floor bomb from Omid.

3 – B-Vision, Dimitri Nakov – Back from DC10 (Original Mix) [Chronovision]

This has been a big one for me recently. The bassline, chords, and drums, are right up my alley.

4 – Shall Ocin – Crash Into My Love (Original Mix) [Culprit]

Released a few years ago but what a great record, sick vocals and guitar.

5 – Maymind – Prophet (Original Mix) [New Kanada]

I love how the vocal sample was chopped up and arranged on this, and that big bass in there is a killer.

Elias’s:

1 – Mr G – Transient (Original Mix) [Defected]

Love the whole mood on this, especially those jazzy vocals, my kind of sound.

2 – L.B. Dub Corp – Its What You Feel (Original Mix) [Ostgut Ton]

A peak time track that has been destroying dance floors for me and that housey synth at the end is fantastic.

3 – Patrice Baumel – Mike Tyson (Original Mix) [Trouw]

This has been a huge bomb for me, sick broken beats and very twisted.

4 – Nesta – Piece Of Mind (Original Mix) [Eye Spy]

Amazing jazzy vocals on this, gives me the feeling of a band performing.

5 – Simian Mobile Disco – Sacrifice (Original Mix) [Delicacies]

A big classic for me that I’ve been playing a lot in my sets. Great energy and emotions in it and I love that dominant acid synth.

Who are some of the up and coming producers from your region that we should be looking out for in 2017?

There are quite a few artists coming out of the region at the moment. But from Beirut… Rolbac, Three Machines, and Nesta (Technophile) are the main ones to look out for in 2017.  Rolbac is an incredibly talented young producer, that is making serious waves with his productions at the moment, and is one of our favourite producers out there. Three Machines are another extremely talented young duo that are on a different level with their production and sound. We can’t wait to hear what they have lined up. Nesta (Technophile), who is also a Uberhaus resident, has had a big year with his releases, label, and bookings. We expect 2017 will be an even bigger one for him.

Ali – you are currently a resident at Beirut’s hotter than hot The Gärten / überhaus, tell us about the club?

The club is bad-ass, run by a passionate group of people that have successfully, and further, cemented Beirut as one of the top clubbing destinations in the world. It has a fantastic set-up, great sound and lights, and a lovely staff and crowd. It’s been a real joy playing there. And the line-up of artists coming in speaks for itself. So, for me, following up on my string of residencies with this one, and at home, is something that means a lot.

How do you think your production styles compliment each other in the studio – who excels where?

Since we both come from a DJ background, and are already into the same sound, we compliment each other well in terms of our vision musically. On the production side, while throwing ideas back and forth on the keyboard, Elias takes the lead on the technical side with sound design, and hardware control, and Ali focuses on the idea direction, and arrangement, of the track.

And finally, what does the future hold for you two? More collaborations, more singular studio activity…what’s going on?

In terms of our collaboration, we just signed our second tune, ‘Audio Culture’ to John Debo’s Mindwarp Records, which we are very excited about. We have another EP in the making, and we will definitely continue making music together.  On the individual side, we both have solo projects that we are currently working on, as well as collaborations with other local artists. One of the new projects Elias is working on is a new live act project with Ziad Sarrouh that will be based on modulars and hardware. There is a beautiful spirit of collaboration going on in Beirut musically at the moment, and it is something we plan on nurturing, and working towards, with the incredible talent that is here.