Matthew Oh is both an exceptional DJ and producer whose dub-enriched sounds capture intelligence and emotional resonance in equal measure. Read our in-depth interview with the artist as he gathers thoughts on the creative process, club culture, and more.
Welcome to Magazine Sixty, Matthew. Let’s start by asking what attracted you to the sounds of Dub and Techno rather than songs and melody. Where did your initial influences come from and can you remember when you first heard these sounds?
Hi Greg, first of all, thank you for inviting me to this interview. My musical background is rooted in house music. I started out as a DJ, and when I began in 2000, the records that made me fall in love with this art were mostly from the American scene. We’re talking about artists like MAW, DJ Spinna, and labels like Henry Street Music, Strictly Rhythm, and so on. I still buy old-school house records to this day.
Over time, as a DJ, I expanded my knowledge and began exploring more techno sounds as well. I still remember the first dub record I bought: Luke Hess – EP 01.
Of course, I’m not here to delve into the well-known pioneers such as Moritz Von Oswald, Mark Ernestus, Steve O’Sullivan, and Rod Modell, who, through his project DeepChord, is a leading figure in Detroit’s dub techno scene—artists who have significantly shaped the genre into what it is today.
Your label, Outlaw seems to choose quality over the volume of releases you can put out. Which in these days of information overload is to be admired. How would you describe your attitude to quality and quantity?
For every release, I always aim to make a carefully curated selection. Even when I listen to the tracks that artists send me, I focus on finding that feeling that, first and foremost, has to resonate with me, and that I hope will also resonate with the audience. That’s why I don’t release too many records throughout the year. It could be two or three, or even just one. I’m not too concerned about the quantity; for me, the only thing that truly matters is the quality of the music.
The label’s most recent release, Unseen EP features four equally excellent pieces of music from you. Can you talk us through the process of how you create music including any go-to pieces of software/ hardware you like to use?
Most of the tracks on the EP were created in February of this year, except for Voices, which was a project from 2022. I initially set it aside because I wasn’t entirely convinced by it, but after receiving a lot of positive feedback, I decided to include it in the EP.
My creative process almost always begins with the desire to experiment with new effects, VST instruments, or machines. I really enjoy blending analog and digital elements. Since I don’t have a lot of time to go to the studio, I often start new projects from my couch or even in bed before going to sleep, and only later do I finalize everything in the studio.
On the technical side, Unseen was written almost entirely live, using euclidean sequencers, Absynth by Native Instruments, percussion from the Korg Electribe, while the vocals are a sample found online and the chords were made entirely in the DAW. Submerged was produced completely in the DAW, using stab samples, the bass created with Reaktor, noise and effects with Analog from Ableton, along with effects from Valhalla DSP and others like the saturator and overdrive from D16. I tend to saturate almost all the tracks in each project. There’s also a chord sequence made with the Cirklon and the Ableton wavetable.
As for Altitude, the drums are mostly from the Korg Electribe, and the vocal hook you hear in the track and in the drop is a recording of my voice. The pads were created using the Juno-60, while the bass and effects were made with SubBoomBass and Predator by Rob Papen. The main chord is a layer composed of three channels: the Juno-60, a piano sample, and the Ableton wavetable.
Finally, in Voices, I used a processed 808, a vocal sample taken from a Japanese anime, and my voice was recorded and processed to create a background effect. The pads were made with an emulation of the Oberheim OB-X, and the drum samples were processed and sped up to create a bass effect. To complete everything, I added some external effects like delay, reverb, and chorus, along with various LFO modulations.
Where have you been DJ’ing recently? Are you still as excited by the art of DJ’ing compared to when you began?
I was a resident DJ for 10 years at Serendipity Club, a renowned venue in central Italy. This role allowed me to perform alongside numerous international artists. However, over the past year, I decided to step away from that residency to focus more on individual dates and events. For me, being a DJ is a unique emotion every single time. Every time I place the needle on the vinyl, I still feel that intense thrill, as if it were the first time. It’s a special sensation, a mix of pleasure and that kind of ‘exciting fear’ that comes with it. It’s something indescribable yet powerful, and it’s this deep connection with the music and the crowd that makes me fall in love with this art all over again, just like at the beginning.
What do you think about modern club culture in terms of the dominance of festivals and the lack of income artists can gain from streaming their music etc? Do you feel the music and culture are still underground or have things changed too much for that?
Modern club culture has undergone significant changes, especially with the rise of festivals that have overshadowed traditional clubs. On one hand, festivals provide great visibility and reach a broader audience, but on the other, they often lack the intimacy and sense of community that characterized the underground club scene. The underground culture, once the heartbeat of small venues, especially in Italy, is now harder to find and has given way to more commercialized experiences.
Despite this, I believe the underground still exists, albeit in a different form. It may be less visible and more hidden, but it hasn’t disappeared. There are still passionate individuals working to keep that culture alive, even though the context has evolved.
Is your love of Dub influenced by Jamaican reggae or is it more centered on electronic music emanating from Europe or Detroit? What is your favourite echo chamber?
I’ve always had a deep love for reggae sound, including its dub elements. However, my focus is primarily on the world of electronic music. Since 2006, I’ve had the fortune of owning a small vinyl record store, which has allowed me to stay constantly updated with new releases. Working closely with many European distributors, I immerse myself in the latest electronic music trends. While my appreciation for reggae remains, my professional life is deeply rooted in the electronic music scene.
Outside of electronic music what artists, poet’s, painters, cinema etc inspire you most?
Beyond electronic music, I love reading books that explore music from every angle, from its history to music production. I’m also a big fan of documentaries, biopics, and street art in all its forms. I find inspiration in these diverse artistic expressions, which help me to continually expand my creative horizons.
Tell us about any forthcoming plans for the label and your own productions and DJ’ing?
In 2025, I’ll be celebrating 10 years of Outlaw! I already have two releases lined up. The first will be a V.A., the label’s first, featuring tracks from both new artists and those already established with the label. The second release will be the second chapter of Relict, a project by the Russian producer Gradient, enriched with remixes from some of the most important names in the current dub techno scene. I’m considering organizing a label showcase. The event would feature DJ sets and live performances by artists from the label. I’m currently evaluating the necessary resources and potential venues. I’ll keep you updated on the project’s progress.
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