—Start of season 5 of URBANNOISE Radio—
Written by Razeed (Geométrika FM)
Translation by CementO
Constancy is an attitude I have learned to respect through years. Been constant through an activity that is persevering for years is complicated, because life gives you changes all the time and the real things that one really believes in survives those changes. Constancy doesn’t deserve only respect for the time and security that implies, also it is because it confronts you and the rest, and it confronts critics. Anyone that exposes his ideas continually to the critic from others deserves, under my judgement, a great amount of respect.
From this amount of respect and the object of this program to affect the scene through encouragement, support and “discover” new artists, as how to get to a different scene with more enshrined artists, I believe URBANNOISE is a project that is worth mention, worth support and collaboration. From there I have taken the first step to contribute to this project with the written information of future artists that will be part of the series of podcasts.
URBANNOISE starts its fifth year of radio, podcasts, and new artists, enshrined artists; five years of effort that I hope it will keep evolving.
Here is the text which V-Obsession will start this new season over the social networks and talks about the changes in comparison with the old seasons:
Then finishing up, here is the interview that I did with V-Obsession, so you can know a little more about the person behind the idea of URBANNOISE.
Q – When did you start to listen to electronic music?
What album/EP/Single made you go ” WOW! This is my thing!”?
A – Pfff… Difficult to answer since “my thing”, when it comes to style, has been changing through the years, but I remember a couple of singles that pushed me to get more into those sounds, one of them was ” Dance Piu ” of DJ Miki, from the starting kick that imitates a heartbeat and does a full introduction to a very deep and mystic atmosphere and goes on to change organic elements with others that are pure electronic, all this in a very melancholic tone, something that has always enchanted me from general music. Another, from what I mentioned before, ” Seven Days And One Week ” from master chief Emmanuel Top and their companions Bruno Sanchioni and Bruno Quartier under the nickname BBE
Q – How does a DJ become promoter and then director of contents from his own radio program ?
A – Same as anyone of my age who started this at the XX century, I believe we ended up here from all impact of one calling and total surrender, in no particular order before picking up the first vinyl. Long before I start Djing I spent most of my time thinking about music, collecting, selecting, and organizing music… In the 90’s it was unimaginable for a Spanish youngster to live as a DJ. But when you use 90% of your thoughts and activities around a day for such a long time, is unavoidable that one thing leads to another and ends up dedicating yourself to it in one way or another. End up as a promoter (occasional and less successful, I have to mark out ) came from the same reason. Besides the idea of contributing something that I consider it was missing and convincing me that I could do all this just by myself. Director of contents… in the radio show stop me from counting on artists whom works and talent I consider they deserve to be more diffuse, as much as invited djs as music producers on my mixes. That’s the only content that I contribute, for now, is musical, and simply I do what I always do, choose and play music.
Q – What do you feel after all this effort you have done, are you now with an URBANNOISE radio show supported?
A – Of course is heart warming and stimulating, but as it always happens, for what I can see through conversations with other friends and their projects and work, that consolidation doesn’t feel all at 100% and from time to time it needs someone from outside the country to make you look minimally. We live in an era where everyone gets an unusual big amount of information, and this puts the difficult task that we can’t interact with our regular virtual disseminators, something that for the trust of these people is vital. On the other hand I believe is better to work without any feedback so we can show our most pure angle, with no influences of passing fads or false worshipers seekers returned favours, but been near with the honest ones that like our job it will help us to have a close idea of where does the project really stands between our audiences, even thou as artists we never really become satisfy with all of our work, something that we need so we can go on growing every day.
Q – Talk me a little more about URBANNOISE, when is born in your head, what was the idea in the beginning about the show and how has it been mutating till today, thing that I’m sure it has done.
A – Exactly, it has mutated enough. In the year 2009, that it starts to get together, there wasn’t that much of streaming online radio and it wasn’t easy to spread something like this. People weren’t use to this kind of radio. When I started it was more of the necessity to show myself to the world beyond my own hometown, since for a weird reason it never quite fit my style with the work I do. I believed in the 2 hour format so I can have a guest, so I have the opportunity to draw in audience. With time I saw how the mixes from known artists cause more excitement, because of their relevance to the scene, frequently were the worst, and the less known artists contributed with really impressive work. That’s how I decided to work with that kind of djs and producers, and sure they were domestic, much better. Lately I have turned to a more middle ground, since some more representative techno names sign really good works and it took me back to a more personal work and not so often as a spreader, since in a way I feel totally identify with the techno that is been made for some time now and besides I feel more comfortable thinking that I’m contributing to the general campaign that moves in favour of techno, that simply starts to get to know more less knowing artists, since in this scene the treatment with the artist is more honest for its quality and that job is less necessary.
Q – What kind of artists will prevail in your show this season?
A – As I explained before, will be a middle ground between more and less known, but strictly techno. The techno we know of. The true one from my point of view. Ibiza techno and their follow ups has nothing to do with us. There is mayor confirmations as Xhei, CementO, Delusions, Elle and JoyB, with more people to confirm as the new season has moved along and I have an idea of the schedule we’ll bring to the work rhythm, with names as NX1, Christian Wünsch, Drumcell, Casual Violence, Black Asteroid, Go Hiyama and Unam Zetineb, so you get an idea.
Q – What kind of changes will be happening in the show in comparison to years before?
A – Well, this was already answered in the previous question haha
Q – Tell me why did you choose this new broadcasting channel?
A – Seance Radio it captivated me deeply when I knew of it and I reacted with a fast review of their twitter’s timeline, since I got to know them through someone else retweet. THEY PUT OUR KIND OF TECHNO ALL DAY LONG!! It took my attention by positive surprise that they have so few followers on Facebook and twitter, it made me get involve almost right away in their favour. On the other hand I was in need of a change for some time, to the point to give it an end date for the show. Finally I enter a bunch of chats and idea development (some of those chats were with you, accurately), I found a way to keep the show going. I talked to the broadcasting channel, they accepted all my weird requests for format, frequency and length so here we are.
Q – What need to have the track of an artist for you to play it ?
A – Feeling. Deepness. Seriousness. I’m not always looking after forcefulness, in fact I used to discard it unless there is some justification on it. I rather have a track that connects with me emotionally, even thou it can be really smooth, than a popular track. Techno is not only heaviness and forcefulness. I think is the most harsh and honest way to transmit heaviest emotions in a direct manner, solid and above board and I believe after so many years of lies and half measures, what most of us are looking for is just that, front face talk, no mask without makeup. And that techno tells you without any word, and even sometimes with no kick and even with bpms under 125.
Q – Since I have known you, you have been through different styles. How can you define you style of music now ? What have been having in common all these styles ?
A – In common I think they have what I was commenting previously; feeling, seriousness, deepness and honesty. Touch of melancholy that represents the sound of my trance and progressive house sessions resumes the sound of those features. And when I play styles that are heavier and scoundrel as industrial or EBM ( Electronic Body Music ), I always have gone to more serious sounds and less curlicue. At present time I keep been dominated by this kind of emotions, but though the tone of techno for some time now.
Q – Do you feel there have been moments that have marked transitions between styles ?
A – I have always moved between styles, so I can’t recall any marked transition. All of them I have noticed by the passing time, looking back and being surprised for the amount of time I have worked exclusively on one style.
Q – Do you believe that a social situation of a country can influence to a certain musical style is heard?
A – Of course it can, even thou the world has optimists, pessimists and pragmatics ( the realism is as subjective as the two first examples ). In crisis situations and social hardness some people involve themselves emotionally empathizing with that darkness, while the natural respond from others is contribute light and hope so it endures. For the same reason I understand that something logical turns about creatively how we lived from some years ago of techno as of deep house.
Q – What does dance electronic music offers you that other music styles don’t ?
A – All styles offer me something, and I don’t want to answer this question before clearing that other styles offer things that electronic music don’t, but electronic music offers me the opportunity to express myself creatively and transmit emotions through music, since with time I just see clearly that I’m a frustrating rocker, hahahaha!!!, I suppose the logic step will be to produce music, but at this time I feel with music I get good enough tools that help to create my own story every time I put on the headphones.
Q – Describe the moment on the dj booth where you have to take a deep breath twice before you can scream satisfactorily
A – I always have my emotions contained inside and I have never needed to scream, but I can tell you that I couldn’t keep a tear and have to swallow saliva to get down the lump in the throat to the stomach. As I told you before, I’m always looking for feeling on tracks and when you get the special emotive ones with a complicated phase and at the dj booth with a sound that spikes in your backbone… pfff!! Sometimes is unavoidable that those feelings escape from our bodies.
Q – Who are your musical references ?
A – I have never been of references in a usual sense. I’m not a big fan of anyone in particular, since periodically either can get away from that particular way of understanding one style or another. I’m a big fan in short periods of time. Every little I’m completely fascinated with a new artist, or newly with an artist that captivates me. I blind myself to that artist for a few days and soon leave the ecstasy or happens the same with a different one. My musical references, therefore, are sounds which creates or works. In addition ( to all this ), I’ve always been more of the final product of who signs it, so, for example, I always end up arguing when I explain that although I recognize the merit and what contributed to that may all occur after, musically I cannot stand Kraftwerk, hahahaha!!
Q – What is your fetish theme today ?
A – No idea how to answer this… but I guess it remains a particular remix from ” Sleeper In Metropolis ” from Anne Clark which it was printed only 20 copies and that cost me horrors ( a lot of money ) to get, or the original single 7″ inches and 45 RPM of ” Vienna ” from Ultravox
Q – How long would you keep fighting for your way to understand this little world ?
A – I have never think about it and I have done it half of my life, so I believe from one way or another I will keep doing it, because is something that goes very deep in us. I guess I’ll end my days teaching my grandchildren the importance of good music and good sound for them to continue contributing to the cause with yours.
Q – Beside the radio show, what other projects do you have in short term ?
A – This year we want to finish the shape we already have a clear head for Diametrik. We made a first contact between us and the public in offsonar, time that we were lucky to have you in the booth, and we continued working on it to narrow some aspects and signing the right people to present it publicly this year. I have also eager to launch the social project of which I spoke a few months ago, but I wonder if I can talk much about it yet, so for now I’ll leave it here.