Interview

[Flashback] Lost 2011 Interview with Dirtyloud!

Posted by AK on March 22, 2012
Posted in: Dubstep, Electro, Interview. Leave a Comment

 

Eduardo Nascimento and Marcus Campos, better known as the Brazilian electro-house/ dubstep duo, Dirtyloud, have been on the rise, topping Beatport charts, gaining quite a local and international reputation and establishing their position in the EDM community. Why, you ask? Because they like it DIRTY and they play it LOUD. Dirtyloud has been busy producing sick tracks and mixes all while touring all over the world. And, in a day and age, where people are busier than ever, EBT managed to get a hold of Dirtyloud back in the spring of 2011. Due to complications, EBT wasn’t able to post the interview on time for which we sincerely apologise to both Dirtyloud and the organisers who helped make this happen. The interview was forgotten and never saw the light of day… until now. And even though it is outdated, the topics of discussion are interesting and still valuable to the knowledge of a Dirtyloud fan and a general EDM enthusiast alike.

 

Exclusive Interview with Dirtyloud

EBT: Dirtyloud has received a lot of success in 2010/11, conquering the electro house and dubstep Beatport charts multiple times. How does it feel to be quickly gaining popularity in the Electronic Dance Music scene?

DL: It’s definitely a great feeling! This tell us we’re probably doing something right. Charting like we did last year for sure is a great achievement for any musician, but we can never be accomodated to this. We always need to put ourselves en vogue, because we’re living in an age when everything is fluid and people forget about you pretty quickly.

Electro is widely popular in Europe. Dubstep was born in the Uk and has spread to North America. How has Brazil and Latin America in general received this new electronic dance music scene?

DL: Electro is also really popular here in Brazil, probably the most popular compared to other stuff like progressive, techno, trance. Dubstep? I could even risk saying we don’t have a dubstep scene in Brazil. There are only few parties, and most of them happen in São Paulo (Brazil’s biggest city). The mass crowd still aint ready for this kind of beat and we hope they’ll be someday. And we’re one of the few artists that use our popularity here to play dubstep sound in big parties and “inject” it in the crowd. Like a needle. In their arm.

Take us through the process of producing a track or a remix. Do each of you concentrate on a certain aspect, such as the buildup or the drop, or do you work collaboratively together?

We share responsibilities for the band, we both put our efforts on the same part of the process, so we work collaboratively together.

With the release of your dubstep track “Needle” you included a DNB mix. Is this something you would like to keep producing, experimenting with other genres, or is this a one time thing? 

We experiment with loooads of different genres. Some of the tunes are worth releasing. Others are not. I have some sort of infatuation with broken beats, so we pay attention to every authentic thing that comes out from these artists.

Your heavy style could be comparable to the likes of Skrillex and Feed Me. Which artists have inspired you the most? Any plans of future collaborations?

Skrillex is definitely an inspiration for us. When he releases stuff it always reminds us that we need to set the bar a bit higher. About Feed Me I believe he has a different approach to house music that we don’t have, he’s way more melodic. We care more about rhythm. Our influences? I could say artists like Bar9, Dodge & Fuski, Benga, Noisia, Sub Focus, Pendulum, Skrillex and Felguk.

What is the secret ingredient to each of your successful tracks? What should each song contain in order to be truly EPIC?

Grime, impact and surprise. The first ingredient we learned on our own, the second from one of my best friends, Henrik Aka Neelix (psytrance guy) and the third one from my also good friend Chris Reece. These are the three pillars of the Dirtyloud sound.

Be sure to check out both the old and the new of Dirtyloud here and here!

Dirtyloud vs Felguk – Nudge (Original Mix)

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[EXCLUSIVE] OVERWERK Interview

Posted by Epic Bass Time on November 23, 2011
Posted in: Electro, Interview, Other, Special. Tagged: , , , , , , . 4 comments

Introducing Edmond Huszar, a producer from London, Ontario with a history and a future. The 22 year old started his career in college with Will Steep in a group named “The Girls Can Hear Us” before deciding to start a  fresh solo project under the name of OVERWERK. OVERWERK doesn’t have a specific genre he sticks to as he continuously experiments by mixing electro synths with touches of dubstep and house flair. He is definitely a  unique addition to the EDM world with great potential. The first sounds he made were at the age of seven, by banging heavy beats on his first drum kit. Years later, through pure experimentation he found his passion in digital music production and got stuck on electro music. Coming to the future part of OVERWERK – well, you’ll see, as Edmond reveals that project OVERWERK is more than just music.
Epic Bass Time Crew had a great opportunity of getting in touch with Edmond Huszar right before the anticipated release of OVERWERK’s first ever EP, “The Nth °”, on November 30th, 2011.

Interview with OVERWERK:

EBT: First of all, we’d like to say we are big fans of you and your
work. Each one of us has their own favorites though: AK’s favorite is
your rework of Wolfgang Gartner’s “Spacejunk” while AV and AU can’t stop
listening to “Buzzin”. As an artist you must like all the work you
produce, but has any struck out as a clear favorite?

 

O: Thank you. When making my music I listen to the same sounds and melodies thousands of times over until it is perfected. I think the best way for me to gauge which tunes I like the best are the ones I am least sick of when I am done producing them. I love my whole EP, but from what is released I think my Midnight remix & Magic Trooper remixes are my favourites.

 

Recently you have ventured off into other genres: dubstep with Mord
Fustang’s “Magic Trooper” and even moombahton in your remix of
“Midnight” by Mac Graham. What other uncharted territory you seek to
pursue in the future? Do you have a particular genre you enjoy the
most?

 

I personally love chilled out electronic music like Sebastian Tellier, also nu-disco, electro-funk, and more indie genres. I do peruse other territories already but I don’t release it under the OVERWERK name, it just wouldn’t mesh with peoples expectations. I might one day start a side project and release all the material I’ve produced in other genres.

 

We here at EBT are very impressed with the level of professionalism
from such a young and talented producer with only a few years of
experience. Nevertheless, is there anything you’d like to improve on
or change in the year 2012?

 

I appreciate the compliments, and your great questions. I think I’d like to improve on my synthesis ability in creating new and interesting sounds. I’d also like to build on my melodies and chord progressions. I want to steer away from such familiar melodies while still keep things catchy.

 

We’re all very excited about the release of your first EP “The Nth
Degree”. What did you try different from the other works you have done
in the past?

 

It’s funny because I’ve worked on the Nth degree for so long, that many songs are from the past… If that makes sense. I’ve scrapped countless songs along the way. So what I’ve done different is just try and accomplish a nice variety of songs with interesting elements, that still make sense together as a package.

 

How does the music process start? Do you get an idea and work
around it or do you experiment as you go?

 

The process starts with some inspiration listening to my favourite artists. Or in some cases I play a live show and see what elements the crowd responds best to, I come home and try and make my music an amalgamation of that.

It’s been over a year since you decided to separate from “The Girls
Can Hear Us” and concentrate on a solo career. How has your
relationship with Will been ever since and how has it been different
producing music on your own?

 

My relationship with Will is good, he is busy with TGCHU and I am busy with OVERWERK. On my own I don’t have to leave space for vocals so there is more room for exploration, and I can fill out the tracks in new ways.

 

Would you ever consider collaborating once more with another singer
(given that the workloads are more equal) or perhaps a producer?

 

I’ve worked some friends that are singers, and most recently one named Nick Nikon who has an amazing voice and will be on some of my upcoming tracks.

 

Most people don’t know, but “Buzzin’” was commissioned by some kids
in Norway as their graduation theme song for “Russefeiring”. Any plans
in the no-so-distant future to play in Norway or anywhere else in
Europe?

 

Firstly I just want to address how awesome kids in Norway are, they just rage harder to electro beats than anyone. Just search “Russ” or “Tryvann” in youtube and you will see for yourself. Regarding playing there, I am headlining one of their main festivals, I just can’t announce which yet.

 

Music struck you as a passion while studying something wholly
unrelated. Will OVERWERK live on as long as possible or will it
eventually be cast off as a fond memory of your college days, in
attempt to pursue other goals?

 

That’s a really good question. Graphic design / visual art is my original passion. My plan is just to combine all mediums into OVERWERK. OVERWERK will become music, video, animation, graphics all combined in new and experimental ways. I will never give up on making music, but I’m sure the OVERWERK style will progress and transform over time, that is the only way to grow.

 

Final question: What is the secret ingredient necessary in every
single to make it truly EPIC?

 

Hahah, if I told you it wouldn’t be a secret ingredient anymore. But what I’d say is putting your absolute best effort into learning the craft and understanding what you are doing before you release music. I’ve progressed and advanced over time with my production and sound quality, and have made a serious effort to understand all aspects of what I’m doing. It is good to learn how to properly use EQ, compression, limiters, distortion, overdrive and other effects so that you can implement them properly and appropriately as opposed to just guessing. Once you have a solid understanding of what to do where, epic songs will become much more achievable.
Be sure to catch OVERWERK’s EP “The Nth Degree”, dropping November 30th!

 

 

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