JP: I'm a 28 year old londoner, living in buenos aires for about a year now. I first found electronic music through pirate radio when I was about 12. I had never heard anything like it, this futuristic underground sound, music that was mixed to form a constant flow of beats and crazy sounds. We take things like this for granted now - the idea of mixing tracks together to make a continuous set - but there was a time when this was revolutionary! I'd stay up all night listening to pirate radio, and come to school exhausted, but it was a way to access another world that was otherwise unavailable to young kids.
TW: en que edad se remonta tu amor por la muscia?
JP: I've always loved music, for as long as I can remember. My parents loved music, and I grew up with their soundtrack in my ears. I was lucky that they supported my passion, I played lots of musical instruments - piano, oboe, clarinet, singing. I took lessons in everything, I took music exams and did my grades. It was an education, but as I got older I lost interest in the instruments. It was great to train my ear, and learn how to perform and compose, but my interests moved on. I started buying dance music, then turntables, then I started making music with computers. That changed everything! I had a new way to perform and new ways to compose.
TW: cuales han sido tus influencias principales para tomar el camino de la produccion
JP: I started trying to make music with sampling programs that I borrowed from friends. At the time I was into jungle, and was addicted to its energy and drum patterns. But I couldn't understand how it was made. This was before anyone had the internet. Unless you knew someone who made music - there was nobody to ask. I used to make music by chopping out samples of jungle records I liked, and reassembled them to make my own new tracks. Years later when we got access to the internet, I started to download more complex programs and I started working in Cubase. Once I had internet, there were places you could study and learn new techniques, and that made everything a lot easier.
TW: cual es tu opinion sobre el techno en particular y la musica rave, que ha sido un movimiento muy importante en el mundo entero
JP: techno and rave started something that changed the way music was perceived. It was so raw and experimental - people dancing in fields, warehouses all night, all day to music that had been written with machines. The classic 909 and 303 sounds are still driving people crazy 30 years later. Artists found a new way to make music - a combination of man and machine, looping and improvising with sounds that nobody had heard before. It was an amazing way to bring people from different backgrounds together - for the love of dancing and having a party. Now there is a huge global commercial industry built on rave. The people who started it in the warehouses and fields, who just wanted to put on parties for the love of putting on parties are now charging 150 pesos to see them perform for a few hours. But at the same time there are still people writing music and putting on parties for nothing more than the love of it. Techno and rave are about attitude as well as a style of music.
TW: en que conceptos se basan tus dj sets a la hora de realizar una presentacion al publico?
JP: I've been playing at parties for over 10 years now, and most of those parties have been ones that I've organised. I love putting on parties! So when I perform, the most important thing to me is to be a part of the party. Not the hero, not the performer or the main attraction - just someone who creates the atmosphere and makes people dance. When you put on a party you have to think about the soundsystem, the atmosphere, the location, the style of music and what the crowd will want. So when you play, you have all these elements to think about. I think the best djs are the people who understand their relationship with the crowd. They are they to provide a soundtrack to the party - not to be the hero and play whatever they feel like.
TW: a la hora de producir musica electronica, que estilo te han influenciado mas para llevar a cabo la misma...
JP: i love the old school techno sound - before everyone became obsessed with having the latest FX and sound manipulation programs, people had to focus on making a groove and having elements that worked together. I can listen to joey beltram records made 20 years ago, and they sound more futuristic and innovative than anything coming out today. I love the shuffly plastikman drum sound, and the way steve rachmad makes synths and machines sound playful and alive. I'm more influenced by what people achieved 20 years ago than artists today. There were different motivations back then. People weren't making music that would be marketed and distributed globally, and they didn't obsess about the sales in the same way. Too much of music now is forumlaic and written with commercial success in mind.
TW: para que hablemos sobre alguien.. prodrias mencionarnos cuales son los djs & productores de tu agrado en estos tiempos..
JP: I loved some of the tracks Audion has done. "Kisses" is as raw and rave influenced as any of the best old school records. Joris Voorn does a great live act, and gets across some of the rawness that I miss from a lot of modern techno. Derrick May is an incredible dj. I saw him here at creamfields a few months ago. He was brilliant - hard hitting techno, with funk and some disco influence.The detroit djs never disappoint - jeff mills, rob hood & the underground resistance djs. Hawtin is an incredible dj but I'm not so interested in the parties he plays at now...
TW: cual es tu opinion sobre argentina y su movimiento cultural en sentido de musica electronica...
JP: I'm still learning a lot, finding out about new artists and djs. The parties I've been to have been great. People love to dance and have fun, and there seems to be a lot less drugs and drinking compared to the UK. The music seems a bit more accessible here as well. The dominant sound seems to be minimal techno & house, and there doesn't seem to be much hard techno. Or maybe I'm just not finding it... People take music very seriously in the UK, lots of pretentious people who hate one style and love another. There are lots of scenes dedicated to dark aggressive sounding music. I'd got used to it and enjoyed the variety. There seems to be less variety here, but people are more open to new sounds and its really refreshing.
TW: como catalogas la diferencia entre los net labels de distribuicion gratuita y entre la distribucion de tiendas digitales....
JP: Things are interesting at the moment, because the model for music distribution is still being developed. The issue with net labels for me is promotion and quality control. Anyone can make a net label and release music, so building a reputation for your label is crucial. Digital distribution created a lot of clutter. It became very difficult to find good music from new artists. I used to go to my favourite record shop each week and listen to all the new releases. The guy at the shop knew what I liked and would recommend new music to me. That service doesn't exist now. The records shops have shut down, and there's nobody to guide you. Now to find new music I have to rely on recommendations from friends and listening to livesets. It takes a lot of hard work, talent and persistence to get established, and it's a very difficult time for new artists and labels. But I think the artists and labels who are doing it for the right reasons will get the respect they deserve eventually, it will just take longer to be discovered.
TW: cual ha sido tu mejor experiencia al publico y si puedes contarnos sobre ella...
JP: I used to be part of a collective, we joint owned a soundsystem and did parties all across England. One summer we did a party near a beach in a quarry cut out of the cliff. The location was spectacular and the crowd were brilliant. I was djing when the sun came up, and everyone cheered when the first rays of sunshine came out of the sea. It was a very special moment and an amazing night, and I was really proud that we put on such a good party. I love djing and its amazing to get a good crowd reaction, but when you are responsible for everything it's a different experience.
TW: cuales son tus proyecciones a futuro, tanto a nivel artistico o como productor..
JP: I'm busy in the studio at the moment, have three releases coming out in the next few months and have lots of deadlines to stick to. I'm also developing a live act with my own material, but want to get it perfect before I start performing, so its going to take some time. Going to be a busy year!
muchisimas gracias Jay Pace, por tu hermoso set, la cultura y tus palabras a este reportaje
Jay Pace's MyspaceDownload Exclusive Set @ The Wave FMMarcelo Domancich (Bitch Bros.) (Brazil) @ The Wave FM
Represented full time by the professional audio editor MARCELO ANDRÉS DOMANCICH (wich is at the moment the only genuine Techno DJ in activity on Espírito Santo state, Brasil) together with the internationally recognised musician, composer and DJ, SYBEL CALMON, Bitch Bros started in 2002 after a lot of work and study on electronic music subjects and has its name influenced by the communication, entertainment and sex appeal age: internet, tv, cartoons, magazines, propaganda, videogames and all kinds of media.
Bitch Bros productions and presentation styles shows as hard, involving and dancing with progressive and groove sounds combined with the strength of Detroit/Funky Techno. All this combines together with a powerfull presentation, floor presence and involving rhythm, either in Marcelo’s alone djset most part of the time, or in their live+dj set or 4decks performance together with an agressive and almost revolutionary, but even though dancing and involving style: the Funky/Groovy/Prog/Electro-Techno, or as they prefer to call: The Neo-Techno!
They have already presented on many electronic scenes from Brasil and other countries, such as Barcelona and Madrid and Rosario and Buenos Aires in Argentina, acquiring a good knowledge about floor mooving.
Live Set @ The Wave FMMarcelo's Domancich Space 
