Massive new tune that’s got the majors lining up, world watch out
Interview : Dan Prince
Photos by : Youcef Boubetnikh
Stuart welcome to DMCWORLD, where in the world are you right now?
“Hi Dan, right now as I start to write this I’m sitting on the train. Just left Liverpool Street in London on my way to Stansted, I’m off to see a friend.”
Massive excitement all over the globe concerning your new ‘Saying Nothing’ tune coming out on Glamrox Recordings. The track has been described as “danceable, dreamy, hypnotic and inspiring” – talk us through the tune…
“Firstly can I just say thank you very much for the interview, and also thanks to Guy and the team on the panel. The past week or two has been a real rush of activity for me since ‘Saying Nothing’ went in at No. 2 in the DMC Buzz Chart. It got rinsed in the Anjunadeep Mixmag Lab, hit Hypem and we’re racking up Soundcloud and YouTube plays too. I am proud of it as I didn’t have a defined template of a track that I wanted to write, or a set plan to say, “OK, I want to make a record like this.” In my humble opinion, this is why it stands out so much. I was fed up hearing a lot of functional music day in and day out that I didn’t relate to. I wanted to inject soul into a track and try to make it memorable. If you look at the component parts, the drums are very house and garage orientated, nice and crisp, made for the dancefloor. I’ve an 808 bass going on which is quite musical and in the club you really feel it in your chest, it gives the track balls. The strings and pads have a lot of character, especially the violin, and a lot of warmth too. I love the older Balearic house tracks with thoughtful, emotional chords – the breakdowns are arguably my favourite parts. There are jungle loops in there that took me an age to create and some really subby notes as well playing at the same time. That gives the breakdown proper attitude. Then there’s also a chopped up vocal line that sticks in your head. Happily I’ve seen it wreck a club, but at the same time stir emotion in people. Either with the strings and vocal, or the bass energy and jungle vibe in the breakdowns. I’m really happy with it.”
The record creates a profound atmosphere that features cinematic strings, reinvented jungle loops and some drum & bass notes. Which all leads us to ask you, who were the early artists from the dance world that first grabbed your attention?
“That is a tough question – it would a heady mix of artists like Goldie, Full Intention, Masters At Work, Kerri Chandler, Rhythm Masters and Todd Terry. All geniuses. Also I was listening back to old Prodigy albums the other day. And secretly I’m a sucker for the excessive flamboyance of ‘Needin U’ by David Morales plus the speed garage that 187 Lockdown pumped out around the same time. Thing is, I listen to ‘Inner City Life’ by Goldie and I get goosebumps every single time like it was the first time, same with Andy C’s mix of ‘Circles’ by Adam F, or ‘The Gift’ by Way Out West. How can you not be moved by those tunes? I saw Masters At Work at Space a few weeks ago and they were still amazing, and Full Intention are back with great records on Rebirth. Now, ask me a month from now and I might pick a different bunch altogether, but that is what comes to mind at the moment.”
What was the 1st record you ever bought?
“’Sincere’ by MJ Cole.”
Early producer / DJ heroes?
“In terms of DJs, from an early age as I was developing my taste I turned to the radio so you can guess who – Pete Tong, Carl Cox, Danny Rampling, and Judge Jules who between them were banging out nearly every major underground and crossover track across the spectrum. This would help develop my love of presenting on the radio as well. Producers would be totally different. I was quickly a fan of the filtered / looped house thing when that happened, so I jumped on anything by the US guys I mentioned above, also Armand Van Helden, Joey Negro and Daft Punk. Michael Gray / Jon Pearn were really prolific back in the day, and I loved the way Rhythm Masters used samples, cuts and chops in their tracks. Gotta mention Prydz’s old Credence tracks and also the Crydamoure gang, RIP! I was (and still am) like a sponge, into loads of stuff.”
Interesting choice of artist name – heliotype. I looked it and discovered it meant ‘a printing process in which an impression is taken from ink from a gelatin surface’. Does this mean there was a possible alternative career for you dude away from music – or did you just like the name?
“Without getting too deep, since it really isn’t – Helio is a term related to the sun, which is self-sustaining. It is just there blazing away. Heliotype sounded catchy, it has a slightly genre-bending feel to it and gives me license to do the house thing, the jungle thing, the ambient thing etc. to whatever degree I want.”
Who are some of the producers from around the world you are giving high fives to right now?
“Ok I’m digging Motez from Australia at the moment, Chris Malinchak is an easy pick from the US, his new one is great. The UK is still a hotbed though – up North Friend Within is bang on it right now, Lone put out some cool stuff on R&S and Darius Syrossian is going places. Love Shadow Child, and Dusky as well, ‘Mr. Man’ on Anjunadeep is special. And Yousef has a big track coming on FFRR, look out for that.”
Favourite record of summer 2013?
“Green Velvet – Bigger Than Prince (Hot Since 82 Mix). Slammin’ track, almost everyone I know loves it and plays it.”
I interviewed Kaz James this week, something he said was kinda interesting…”I don’t think it’s necessary these days to actually be a good DJ like it was 15 years ago at the start of my career. These days you can get away with pressing play on a laptop.” Discuss…
“It depends on your background, and your cultural opinion on DJing. Some producers don’t want to be DJs, maybe they’re scared of it, so I can see why a laptop is used, it is a safety net. For me the art of DJing is picking the right records at the right time. I don’t use a laptop, I’m play off USB as the laptop thing doesn’t excite me and in my opinion it’s harder to interact with the crowd.. But some genres are more chin-stroking than others so laptops suit that world, and depending on your style you can be very creative in your sets. The actual vehicle for the music, beat-matching or not etc, is a different matter, and down to personal preference. I started on vinyl and there was a definite skill in playing it but we’ve all heard stories of superstar DJs trainwrecking mixes constantly. So with clever marketing and the right team, you didn’t have beatmatch tightly back then to go places and, rightly or wrongly, whether you beatmatch now or not in real-time, doesn’t matter. That, as they say, is showbiz. Ultimately people have paid to come and see you so you shouldn’t be thinking of only doing what you can just “get away with”.
What is your cure for writers block?
“Get inspired. Go and do something else, give your head a rest. I find leaving a track for a few days works, then when you come back you have ideas you didn’t have before. But if it isn’t working, it isn’t working. Move on.”
So we head back to your gaff after the gig, what are some of the Heliotype Back To Mine tunes you spin us to mellow the mood…?
Soul II Soul – Back To Life
D.N.A. feat. Suzanne Vega – Tom’s Diner
Electribe 1.0.1. – Talking With Myself
Roisin Murphy – If We’re In Love
“Beat that…”
Funniest thing that has ever happened to you at a festival?
“During Miami WMC I got mistaken for Fedde Le Grand. That was funny. It had its advantages…”
What is coming out next from the Heliotype studio?
“I’m working hard on more originals with a pumping yet Balearic feel – I’ve been hit up by a couple of major labels in the past week who love ‘Saying Nothing’ and want to hear tracks from me. Obviously I can’t say who these labels are but it is all very exciting and looks promising for the rest of the year.”
What is the one piece of equipment you couldn’t live without?
“I’d say my M-Audio Oxygen8 V2 MIDI keyboard. It’s the only MIDI keyboard I’ve ever had, it is small but without it I couldn’t write basslines or melodies or chords. Plug-ins and synths can’t do that for you. So yeah, my keyboard, since it gets what I’m feeling down on paper.”
Not many people know this but the guy behind Heliotype is really good at…
“Radio. I’ve piloted for BBC Radio 1 in the past and would love to get a specialist show on there one day. Banging on about music comes naturally to me – as evidenced in this interview! Once I get enough time I’ll be thinking about presenting and producing my own podcast of some sort.”
Best piece of advice you have ever been given?
“Be persistent. You will get told “No” more times than you can ever imagine. That applies to a lot of areas of life.”
Who is the person from history you would most like to have a beer with and why?
“I’m not deep into historical movements or politics etc really, I’m quite a straightforward type of guy. I’d go for Bruce Lee. He’d be good on a night out I reckon! Lots of stories and maybe he could dispel myths about actually happened to the fella.”
X-Factor is under way again…what is your opinion on these reality type shows that seems to be the easiest way to music stardom at the moment?
“I think they started quite genuine and the whole thing was new and interesting. Then it has become more and more staged, or so it seems, and it is more about attracting a bigger TV audience than it is unearthing true talent. Didn’t some artists / bands have record deals already when they were auditioning for some shows, or were asked to be on the show by scouts? What’s that all about? That said, it is there to be used if you know how to play it right and make it work for you.”
And finally, who would be your dream collaboration?
“That would be doing a track with Shadow Child featuring Roisin Murphy on vocals. I’ve got both her albums, which helped me through a very hard part of my life. So I’d love to do a vocal track with her. Shadow Child has a serious pedigree, I’d be very lucky to spend time in a studio with him. It’s a super long-shot but hey – guys if you’re reading this please get in touch, let’s talk about it!”
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