Long been an admirer of this artists eloquently powerful use of language to convey his many meanings. Here We Are feels more than that though as Bruce Loko’s rich, classically enhanced elements fuse together to create an uplifting, wonderful piece of music that stands out in its own class. Chiming, shimmering keys wash across the breadth of stereo as if Robert Fripp’s magical chemistry had a hand in it, leaving the voice to permeate the sounds in as always thoughtful ways, until the crunch of extra percussion hits perfectly at mid-point. An Instrumental follows should you choose, while the remix by Nutty Nys adds vocoder into the blend plus the beautiful bounce of classic chords providing a most wonderful alternative.
Welcome to Magazine Sixty, Alex Dimou. Let’s begin with your excellent new single for Crosstown Rebels: What Keeps You There. What was the inspiration behind the track and can you tell us about the notable vocal which features so beautifully?
Thank you so much for having me! I think that the main inspiration behind the structure and the sense of the track was s summer festival i played a couple of years ago. I imagined a track like this. About the vocals, it’s all on Vili! She wrote the lyrics and she did a great job with her vocals. I really believe that her talents will take her far in the industry!
The release comes with two remixes by Cevin Fisher and Avidus. What informed those choices?
is an artist I really admire! And i am lucky enough that we have the same
manager, Christian! Christian was the one suggested it and the result was more
than great! Avidus was Damian’s choice. And I believe the Avidus remix has a
new vibe in it. The structure and the idea behind it is perfect!
Can you talk us through how you produced What Keeps You There, including any favourite software/ hardware to like to use?
I am not into hardware. I never was. I know most of the producers really love hardware but that’s not the case with me. I believe that with the right knowledge and the right software you can have amazing results. I use Ableton as the main DAW and my favourite plugins are Kontakt for sampling, Soundtoys for vst and Sylenth for vsti.
Songs and vocals aren’t as prevalent as they once were. Do you think that is something missing in Dance Music, or can the same message be conveyed via rhythms instead?
I do enjoy both. A nice song with a beautiful vocal can take you places. A weird and clever rhythm can loosen up your body. I believe dance music has to make you express yourself through dancing. And I think both can do that!
Can you share with us any forthcoming plans for playing live this summer? And what are your thoughts on the culture of festivals which seems to be taking over from weekly club nights?
I’ve been trying to â€œbuyâ€ myself more studio time for the last couple of years. It’s something I really enjoy and when i’m in the studio I can express myself more than when i’m playing somewhere. Now, about the festivals and the weekly club nights, I think its two different things. When you have a weekly residency you can actually shape the audience and the impact you have is stronger. On the other hand, festivals are like big celebrations. You can go on stage and show the world why you deserve to be up there.
What is your favourite instrument? Do you own one?
My favourite instrument is definitely the classic piano. And i’m lucky enough to own one! Not a great one, but it gets the job done! Almost every track I make, has to go through the piano first!
There are lots of different styles, moods and atmospheres in your music. Can you tell us about your main influences both within and outside of Dance Music â€“ any favourite writers, artists etc?
Yes they are. For years I thought that this is a bad thing. Like, you have to have an identity and I believe that mine was missing. But as the years passed and I saw my music growing, I understood what my identity is. Every track I make has a cinematic feeling. I really get inspired by movies. I have imagined all of my tracks as a part of a movie soundtrack. My favourite artist is definitely Philipp Glass.
Given the direction that politics and the world is moving towards. What role and influence do you think Dance Music can play in shaping people and the future?
strongly believe that dance music bring people together. People can dance with
their eyes closed. It can almost feel a bit pagan! And when you find yourself
in that situation it’s easier to meet other people, to talk to them, look at
them. People at a festival have the privilege to be together for a couple of
hours, without their phones. And that’s important. It gives the message that we
can all be together, enjoying ourselves, conversing and smiling, away from the
loneliness we experience almost everyday in, out everyday lives.
And finally. Can you tell us about any forthcoming plans for 2019 and beyond?
I used to make plans. And when I did and thing didn’t turn out as I planned, I got really frustrated. So I actually try not to make plans regarding music. Hopefully the record does well, hopefully people will like it and hopefully I will get inspired to make another record that speaks to me first, as this one does. Other than that, I have no plans.
Lazarusman’s poetry feels defiantly emotional in these days of cold, hard facts. And it is a pleasure to hear it spun out across Jay Hill’s warmly embracing set of keys, which at once recall the 1990’s yet pulse throughout with visions of the future. It’s a fierce experience for sure accompanied by a surprisingly uncomplicated arrangement, given the power it supplies, connecting addictive qualities to melody and meaning. Â Remixed by Richy Ahmed who squares the deal via a viciously, beautiful bassline plus additional percussion, generous big-time stabs and a bag full of attitude on his typically first-rate reworking.
An outstanding piece of music. That not only captures the joy of life but also marks Universal Children’s Day 2018 as Gruuv celebrates the date alongside UNICEF. The notes are as important as the message delivered by the tongue of Lazarusman who, as words progress, paints a positive picture of inspiration for young and old. Musically the Lucid Version smoulders eloquently with treated piano chords feeling poignant as rolling percussion propels the movement and thought forward. A Vivid Version compliments reworking the elements, while remixes come from Tiefschwarz who injects more energy into the arrangement, plus there’s an excellent Audiojack mix who likewise add more power to the drums while teasing out the tension to almost nine minutes of ecstasy.
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