Stelios Vassiloudis

Athenian DJ/Producer Stelios Vassiloudis is a Bedrock regular whose diverse musical palette always sees him create enthralling, highly memorable tracks. Having recently returned to the studio after an extended musical hiatus, his solo releases throughout 2017 have been exceptional, further establishing him as one of the scene’s finest melodic masters. As yet another exceptional year of electronic music draws to a close, Stelios has joined up with Sahar Z – a masterful DJ and influential proponent of the art of music programming, who has been at the heart of Tel Aviv’s electronic music culture for the past 20 years – and the first fruits of their new collaborative project have just been released. So, here at DMC we thought it high time we had a chat to get the low down on what’s going on…

 

 

Stelios, a big welcome to DMCWORLD and congratulations on the release of your new collaborative ‘Nagasaki’ / ‘Osaka’ project with Sahar Z on John Digweed’s Bedrock label. The first thing we’ve got to ask is how did this project come together?

Hello there and thanks for having me back! The collaboration with Sahar was the result our long-standing mutual admiration for each other’s work, primarily. Earlier this year, I released a couple of tracks on Armadillo Records (the label Sahar runs with Guy J) and this was the catalyst for us to open up channels of communication and start exchanging thoughts and ideas.

Talk us through these two excellent tracks… How did the creative process develop between yourself and Sahar?

Technology has facilitated this kind of information exchange to such an extent that collaborations of this kind are now seamless and unaffected by geographic position or time zones. The principal idea was for me to work on a couple of tracks that Sahar was at a dead end with, in the hope that I could lend them a fresh perspective and add a finishing touch. What actually transpired was a series of project swaps going back and forth between us, accompanied by a considerable amount of WhatsApp messages. The process is actually a lot less laborious than it sounds – when you’re trying to sync schedules and make the most of your time, niceties and diplomacy tend to go out the window and everyone just concentrates on what’s best for the production.

You recently worked with Germany’s Nils Nuernberg on projects for Steve Bug’s Poker Flat label, as well as a highlight track on the recent ‘Bedrock – Frequencies’ album. Is there a certain magic involved in collaborating with other artists? In what ways is it creatively more interesting than working alone?

I feel that once you strike the right balance and feel comfortable with working with someone the experience can be very rewarding. Often times (and if you can check your ego at the door) one might find themselves approaching the compositional and arrangement aspects of their music in completely novel ways. In addition, having another set of fresh ears on board is a great way to get immediate, honest and constructive feedback.

https://soundcloud.com/track-id-blog/stelios-vassiloudis-nils-nuernberg-smoke-tree-release-14th-july-2017-exclusive-premiere-by-trackidblog

If you could collaborate with any artist (ever), who would be at the top of your wish list? 

David Bowie.

What do you think makes Bedrock so special?

Most people would probably be quick to praise John – evangelising his keen A&R skills, attention to detail, and point out that a lot of the “Digweed fairy dust” inadvertently adds sparkle to his label – and quite rightly so. However, I’d say that the enduring appeal and relevance of the label can more equitably be attributed to an amalgamation of factors: the captivating designs, the extensive back catalogue, the legendary parties, the efficient management etc. There aren’t many labels out there that can claim to have maintained such high standards over such a long time period and remained so popular.

For anyone not familiar with your music, how would you describe your style? Can you put your finger on the elements of your music that makes it so distinctive and engaging?

Thank you very much for the kind compliment – I’d never presume to use either of those adjectives to describe my music. When I try to explain my music to people that aren’t familiar with or interested in my music, I generally tend to emphasize the fact that my stuff is melodic and intricately arranged. I find the format of 4/4 time signature and a finite range in tempo to be restrictive, so a great way to alleviate this is to experiment and push the boundaries of sound design. I once read a Richie Hawtin interview where he highlighted the psychoacoustic impact of incorporating non-repeating sounds in productions. I’ve taken that ethic quite literally ever since and I feel it often makes a difference – even if it’s only nerds like me that notice. Do you find defining music by genres useful or limiting?

Neither, it’s a pointless pursuit as far as I’m concerned – unless I’m driving and need to tell Siri what kind of music I want shuffled. 

Which of your tracks do you consider to be your most accomplished creation to date? Why?

I’ve been asked this a few times over the years and despite (theoretically) developing as an artist and becoming a more proficient producer, I always struggle to provide a simple answer. In response to the “why?” I’ll say that in this fickle, bandwagon-jumping age of consumerism we live in, I consider it an accomplishment for any of our music to transcend fashion, genre or pre-ordained (digital) shelf-life and so, it was with great pleasure that I recently learned of a couple of notable contemporary techno DJs playing out the very old-fashioned and proggy “The Z” (Bedrock, 2011) in their sets.

Tell us something about the psychological effects of music that totally blows your mind?

I forget the exact metrics on this, but I’m fascinated by the principles and effects of auditory fatigue. If memory serves, a full night of clubbing has comparable physiological effects to going out for a long run! Clubs are unique and multi-faceted environments, where every transaction and interaction is soundtracked by the DJ. From a business standpoint, I find it interesting that an overwhelming majority of businesses pursue a model where (often) overpriced guest DJs are invited to play short, predominantly peak-time and aggressive music to a room full of people – as opposed to cultivating longer, more nuanced and balanced programming selections that punters might be able to stand for longer periods of time. 

Let’s rewind for a moment, what are your earliest musical memories?

My dad playing “Shine On You Crazy Diamond” on the home stereo. 

At what point did you get into producing and DJing? In what ways do you think your particular journey has influenced the electronic music you make now?

I got into producing and DJing in my early twenties – I was into other kinds of music prior to that. As a musician first and foremost, I initially got into making music and then quickly realized that the 2 activities complemented each other (especially if one harbours any hopes of remuneration). I think I wear my influences on my sleeve quite prominently… although it’s a goal of mine to be able to break free from the pressure of the making-music-for-social-media-fodder cycle for an extended period of time and write another album where I can express myself more freely and experiment. It must be said that this can be a daunting prospect for many producers as crossing genres and breaking into new niches is generally difficult to do and it takes a great deal of determination, hard work and luck in order to pull off.

Having witnessed the evolution of the underground scene in your home country of Greece over the years, how do you view where things are at now? Is the scene healthy? What could improve things?

Unfortunately, I’m not particularly connected to the underground scene here and couldn’t tell you what kind of state it’s in. It’s far too cliquey and geared towards promoting foreign talent for my taste and so there’s been an amicable and mutual neglect over the years. The only useful or accurate comment I can add is that I’m continuously amazed by and proud of the amount of music that many of my highly talented compatriots put out there and the success they seem to enjoy abroad. It’s such a shame that relatively few people are aware of or genuinely appreciate them at home.

You’ve played at festivals and clubs all over the world during your career, so where have been some of your favourite places you’ve played in 2017?

It’s the world’s worst kept secret at this point, but, again, I’d have to say South America and Argentina, in particular, is a very special place to play. There’s nothing I can say about the country that probably hasn’t been said before but I think it’s very telling that it is consistently so highly rated…

What piece of studio equipment could you not live without?

Native Instruments’ “Maschine”. If I were hard pressed and this was a life or death scenario, I’d find a way to survive with a replacement, but it really has become an integral component of my creative process.

Since we’re nearing the end of yet another great year of music, how about you give us your Top 5 tracks of 2017 (by other artists)? 

David Mayer – Sirocco (Jonathan Kaspar Mix)

Red Axes – Sun My Sweet Sun (Konstantin Sibold Afro Tech Mix)

Sebastian Mullaert – Broken Mirror (Wa Wu We Reflection)

Vince Watson – Melodika

Hyenah – Soak It (Andre Lodemann Remix)

Best piece of advice you have ever been given?

Only pack what you can carry yourself.

What are your plans for 2018?

More of the same, but hopefully a little better… 

Stelios Vassiloudis & Sahar Z – Nagasaki / Osaka (Bedrock) is out now.

Beatport: https://www.beatport.com/label/bedrock-records/63

Further Info:

https://twitter.com/StelVassiloudis

https://www.facebook.com/steliosvassiloudisofficial

https://www.facebook.com/Sahar-Z-227121677365914/

https://www.facebook.com/bedrockrecords