having to play new music — but Omid way, so they’re trying to take some of the “It’s a privilege to play on a soundsystem personally don’t listen to my promos
doesn’t look at music like that. He’ll cool factor from SOS and mix it with their like that. You forget sometimes, with that much. I spend most of my time
listen like a producer, he’ll be like, ‘This more commercial focus, and make it into some of the soundsystems around the looking out in the record stores. There’s
track’s rocking, so we should be playing something neutral,” Omid says. “But world, what you’ve got to put up with. It’s like 2000 tracks released each week, and
it’. Our combination of techniques make without trying to say that we’re really hard to have a sound that makes you feel that’s where you’re randomly gonna find
us stronger.” cool, we’re taking what we do and that great when you’re playing,” Desyn the magic if you spend the time. And we
Omid chips in: “You could play as good a somehow crossing the boundaries so enthuses. all do that.”
set as another DJ without playing a people don’t just see Ministry as this Omid adds: “When we’ve had interest
single record he or she is playing. If you greatest hits compilation series. from other clubs, Ministry seem to get Stylistically, the first disc hangs
do look a little bit further afield for “That’s why they’ve taken the risk as the jealous girlfriend thing, which is a together brilliantly; despite the variety
music, have an idea of what you’re really well. I don’t know how long they intend healthy relationship to have. They’re like, of their selections, there’s a distinctive,
looking for, tracks start to come looking to keep putting those comps out, ‘I thought you loved me?’ And then we’re bright, vivid electronic funk that seems
for you in a strange way. It’s the law of probably forever. In the process of doing like, ‘Okay, let’s talk about it! Let’s do a to cohere their sets into an
attraction.” that, it would be good for them to put residency!’ They’re quite flexible with us, unmistakably SOS sound. Whatever they
Balancing the credible and commercial is some cool stuff out as well.” but at the same time, it’s the play, they make their own, which often
something that Ministry of Sound excel soundsystem that makes it such a extends to fashioning their own edits of
at, too. In this respect, SOS mixing the They’re effusive in their praise for the pleasure to play there.” tracks in order for them to be
first of their new compilation series club itself, and single out the compatible with that sonic signature.
couldn’t be a more snug fit. soundsystem as being one of the reasons “It’s trying to take what the producers
“Ministry have always got their eyes on why they enjoy playing there on a regular Un-blinkered have done to another level,” says Desyn.
their image being perceived in a certain basis. SOS aren’t simply eclectic for the sake of “When we’re playing, we mix loops,
it — rather, they see dance music as a tracks and acapellas. We’re using what
vast continent of rich resources to be they’ve done in the studio to create
plundered, with the borders between more layers. It becomes a live re-edit
regions removed. Un-blinkered, they’re while we’re playing, and we’ve applied
able to nab the best bits of everything that idea to the compilation too.”
and make them fit into their sound. “With people like Aeroplane, sometimes
“We’re not real trainspotters, and you need to add a little extra kick to it,”
because we want to keep our variety as Omid suggests. “The music’s great, but
flexible and open as possible, we don’t you can turn it from an opening track
really chase any particular genres,” Omid into a peak-time track by dropping a
points out. “We try to focus on everything gated kick in there. That’s not ruining it
that’s out there so we don’t miss — it’s putting it into another area that it
anything out. The genres are what the probably would never have entered
digital outlets are labelling it as. It’s a otherwise. You can make the track
pizza or a hamburger, as Des puts it. bigger by doing the right edit. People
That’s the way we genre our music, not come up to you and go, ‘What was that?’
techno or garage or house. No-one’s that The original version was at 115bpm,
consistent in this music anyway. It’s not we’ve sped it up to 125bpm and put a
like bands in the ’80s or ’70s, where they heavier kick into it, now you’re paying
put out classic album after classic attention!”
album.” But it’s not enough for them to play the
Desyn agrees, adding: “Our job is not to tracks: SOS are in the business of
follow one person who keeps delivering. making new music during their DJ sets,
There isn’t a single place or store or several tracks bleeding into one to
promo company [that we follow]. I create a new piece of music.
Can’t deny the three!
Three essential tracks from SOS…
Omid16B
‘The Epic’ Sexonwax (2009)
Part of the ‘Sequential’ series, this post-punk guitar-laced, piano house jewel lives up to
its lofty title.
Demi Presenta Toby Flowers
‘Ether Leak/Space Bass’ Dutchie Music (2009)
Two deep electronic house missives from Demi’s latest alter ego.
Torley Wong
‘Xristophan (Fair & Masiello’s Jumbo Prawns Remix)’ Alternative Route (2005)
More known as a DJ, Desyn occasionally turns his hand to production too, as this killer
collaboration with Luke Fair demonstrates.
026
www.djmag.com
DJ481.SOS feature.indd 26 11/12/09 13:30:00
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