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HIGH 5 – LUCA BACCHETTI

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intro by Jelena Drenjakovic

Italian DJ, producer and Endless record label head Luca Bacchetti has built a huge reputation on the strength of his production. His sonic soundscape oscillates between entrancing electronica and techno fully aligned by a particularly strong sense of melody and ambience. Apart from spreading his signature twists and musical turns through myriad productions and remixes, the past few years have seen the Italian rack up plenty of frequent flyer points, playing shows across the globe. Ahead of his upcoming gig at The Brooklyn Mirage and Burning Man, Luca Bacchetti gives us a taste of his broad sonic scenery with 5 EPs that traverse beautiful realms of sound whilst being hard to pin down to exact genre markers.

MAX LODERBAUER – BRIGHTBIRD REMIXES

Max Loderbauer is back to lend his unique interpretive skills to the master recordings for the Brightbird album by João Paulo Esteves da Silva, Mário Franco and Samuel Rohrer. Loderbauer’s role as electronics operator in the similarly attuned Ambiq trio has already shown that, through his mastery of tone color, he has a talent for teasing out the additional hidden details within an apparently ‘complete’ sonic environment. It’s a task he manages to accomplish without ever overriding or contradicting the cohesive message provided by his collaborators.

BUY EP

Full article here

Luca Bacchetti’s guide to the Apulia region

Italy is without a doubt one of the most picturesque countries in Europe.

Known for its delicious food and wine, rich history and huge culture, the Mediterranean country attracts more than 15 million tourist per month in the summer.

Though there’s more to Italy than gastronomy and history. The country’s nature is equally impressive – from the Alps in the northern region of Tyrol to the the lush vineyards of Tuscany in the heart of the country, going all the way to the breathtaking islands of Sicily and Sardinia in the south.

Aside from Rome, Naples and Sicily, the south of the country is also famous for being home to the sun-kissed region of Apulia.

Also known as Puglia, this region boasts the longest mainland coastline in the country, bordering the Adriatic Sea, the Ionian Sea, and the Strait of Otranto and Gulf of Taranto. Apulia is also famous for its olives, with the region’s up to 60 million olive trees generating as much as 40% of the country’s olive oil output.

Nature and food aside, Apulia offers some of the most incredible beaches in the country. With Salento, Gallipoli, Vieste and Polignano a Mare all nested in the region, it’s no wonder Apulia plays host to some of the best sunsets you can see in Italy.

This August, Apulia will also host the Italian edition of international music festival Corona Sunsets. The Italian episode of the international outdoor festival will be headlined by Israeli house stalwart Guy Gerber, South African house hero Culoe de Song and French live maestro Rodriguez Jr. and London-based DJ and producer Kidnap.

In addition, Corona Sunsets Italy will also see performances by Amsterdam-based melodic house DJ Miss Melera and local hero Luca Bacchetti.

Just a couple of weeks before his performance at the festival, Luca has compiled a special guide to Apulia, which will help festival-goers experience the magic of the region to the fullest.

Places to visit

Alberobello, which literally means beautiful tree is a small town in Apulia. The town is famous for its unique trullo (plural: trulli) buildings – a traditional Apulian dry stone hut with a conical roof. The trulli of Alberobello have been designated as a UNESCO World Heritage Site since 1996.

Polignano a Mare, located on the Adriatic Sea, is a town of Greek origins. It overlooks the Adriatic sea, standing on a steep rocky cliff cut by a deep gorge. Because of the karst nature of the cliff, there is a number of caves that were inhabited by the prehistoric men. Among these marine caves the Palazzese grotta, is the most enchanting one and is an absolute must-see.

The gorgeous port of Porto Bianco, located just on the edges of Polignano A Mare, is a perfect location to shoot all your lovely Insta-worthy shots of the town and the crystal clear waters of the sea.

The beautiful Castro is imbued with history and legends. It is perched on a precipitous cliff, overlooking the Adriatic Sea, 48 km away from Lecce and, stretching towards the sea, it becomes a marina awarded the Blue Flag.

Down below, Castro Marina comes alive in the summer months, with bars, restaurants and cafés opening up along the seafront. The little harbour, usually home only to the town’s small fishing fleet, welcomes impressive yachts and pleasure boats. A majestic opening in a sheer sea cliff near Castro welcomes you to the Zinzulusa Cave, one of Salento’s most impressive karstic phenomena.

Read the full interview here

15 PREGUNTAS PARA LUCA BACCHETTI

Luca Bacchetti

Luca Bacchetti estuvo hace poco en su gira por Sudamérica. Corta, muy breve su estadía por estas tierras, pero justo el día en que se despedía, Danzeria se topó con él unos cuantos minutos para conversar de tantas cosas como fue posible.

Este consagrado Dj italiano es conocido por su irreverente música y por sus expresiones artísticas que manifiesta hasta en la forma en la que habla: pintor, fotógrafo, escritor y todo lo que envuelve el arte en general. No se define como artista pero sí lo vive al máximo en cada viaje que hace o en cada soledad que le embargue.

En esta entrevista en exclusiva para Danzeria vamos a conocer a Luca mucho más allá de su faceta como músico.

* Luca, empecemos con tus antecedentes musicales…
Yo inicié mi carrera en la radio, en Italia. Trabajé doce años como locutor, así que mi antecedente es muy variado gracias a eso. Solía escuchar diferentes tipos de música todo el tiempo. Empecé con el Pop y luego Drum and Bass, en los inicios de esa escena.

* ¿Así que has escuchado a Plug?
Claro, a todos los ritmos rotos de los chicos del Reino Unido. Fueron probablemente mi primer amor. Mis primeros héroes en 1989 fueron Public Enemy, Beasty Boys y Run DMC: toda la vieja escuela. Debido a esto, mi manera de crear y producir música se ve influenciado por ellos. Mi forma de producir es muy diferente y mantengo el mismo Groove y actitud, pero de una manera distinta. Por ejemplo, en mis lanzamientos recientes, como: ‘Tango’ o ‘Loneness’, y anteriores puedes escuchar sonidos africanos.

Read full interview here

Luca Bacchetti, On The Other Side

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Saturday, May 2nd, Italian super-producer and DJ Luca Bacchetti takes Le Bain to the other side, somewhere over the Tuscan Apennines

LE BAIN: ‘Underground’ dance music can sometimes sound a bit homogeneous, but your sound is surprisingly personal. There’s something more to it…
LUCA BACCHETTI: It may seem odd, but I find the concept of ‘underground’ in music to be limiting. I don’t think of myself as ‘underground.’ Underground is a large boiling pot in which thousands of worlds get mixed up. If I had to coin a new definition, perhaps ‘Deeper Music’ would be something closer to the way I see things. I just believe that an artist has to listen to his own voice, or at least maintain his identity, instead of aligning himself to what’s happening around him. There are ridiculous productions around, well-made copies of other stuff, very functional for the dance floor, but artistically they’re nothing, only emptiness…

Read the full interview here

Special Mix for Time Out New York

Time Out New York

Luca Bacchetti
Photograph: Courtesy Rebel Butterfly

As New Yorkers, we sometimes forget what this city means to people not from it. Being born under the Tuscan sun, it turns out, has given Luca Bacchetti a love for our city in a way that only someone growing up far removed from it, yet somehow still in its shadow, ever could.

In this excellent genre-hopping mix the Endless Worldwide boss has lovingly, and exclusively, assembled for us, he embraces our assigned theme of a long-distance dedication to this city more overtly than any other so far in this short series, all due respect to Billy Caldwell (Mix #1), Dan Selzer (Mix #2) and Haehnel/Müller (andhim Mix #3). Fighting through sickness and the busy holiday season, he lined up his usual mix of smooth house but with a twist: recent tracks from Rampa, Nina Kraviz and Martin Buttrich & Konrad Black now sit alongside local bangers from Wu-Tang Clan, Public Enemy, Maxwell and…Woody Allen? Yep. But let’s just let him tell you:

“If this city didn’t exist, I probably wouldn’t be here now and wouldn’t be doing what I do. When I discovered hip-hop and black music toward the end of the ’80s, New York was my dream, the city I dreamt about whilst looking at the double cover of Paul’s Boutique, which I stuck on the ceiling above my bed, a melting pot of races, a place where records came from, along with fashion and even the way you walked. Yes, in New York, even the walk is different! When I think of New York, I think of the world; it’s pretty difficult to find a purebred American here. This is the crossroads where things happen and everyone brings something of themselves. In this mix, I try to take a snapshot of some of the many memories I have, although it’s a very difficult task for me to condense the visions the city evokes. Above all, I thought: What do I bring to NYC? Here too, every now and then, quotes jump out. Where I was born, on the Tuscan Apennines, I was surrounded by mountains—a kid day-dreaming about what was on the other side. New York was that dream, and for many, it still is.”

Luca Bacchetti plays Janurary 9 at Verboten with Kölsch + Daniel Bortz.

Tracklist:
Manhattan (movie clip)
Public Enemy, “Fight The Power”
James Brown, “There It Is”
Wu-Tang Clan, “Triumph”
Marvin Gaye, “What’s Going On”
Janet feat. Q Tip and Joni Mitchell, “Got Til It’s Gone”
D’Angelo, “Chicken Grease”
Miles Davis, “On The Corner”
Taxi Driver (movie clip)
Soulphiction, “Ann Arbor” (Musik Krause)
Gold Panda, “Clarke’s Dream” (Unknown)
Doc Daneeka feat. Seven Davis, “What’s It Gonna Be?” (Ten Thousand Yen)
Hyenah, “Tale From the Dirt (Rampa Remix)” (Freerange)
Embassy Of Joy, “Addiction (Johannes Brecht Remix)” (ENDLESS)
Martin Buttrich & Konrad Black, “Siamese Connection” (Rumors)
Hundreds, “Please Rewind (The Das Remix)” (Krakatau)
Jesse Ware, “Keep on Lying (Nina Kravitz Remix)” (Unknown)
Flight Facilities, “Two Bodies feat. Emma Louise (Robag Wruhme’s Endara Wassby Remix)” (Future Classic)
Beastie Boys, “We Got The (Godblesscomputers re-work)” (Unknown)
Bonobo, “Return to Air” (Ninja Tune)
Maxwell, “The Suite Theme”

Time Out New York

Creative Control #5

Luca Bacchetti

Giving advice is always a responsibility, I’d say listen carefully to everyone, but above all to the little voice inside that’s with you day after day: that voice always tells the truth and it’s up to you to know how to interpret it.” – Luca Bacchetti

That little voice inside your head: your own creative pilot, driving your dreams and desires, tugging heavily on your inspirations and the emotions attached to them. Sometimes this pilot shouts so loudly you don’t know where to apply your focus first.

We asked Luca Bacchetti for more clarity. Italian-born, DJ, producer and ENDLESS label owner, Luca is a man who’s spent his entire life immersed in as much music as possible. Long before he was a professional artist releasing tracks on labels such as Ovum, Wagon Repair, Crosstown Rebels and Defected, Luca’s allowed his inner creative pilot to quench his thirst for knowledge of all artistic cultures.

If you’re aware of his work, you’ll know that commitment has paid off. If you’re yet to enjoy his near-decade rich repertoire, have a listen to this epic, emotionally-surcharged remix of Maher Daniel and Jon Charnis. Then read on as he shares his thoughts on finding inspiration, writing techniques, how to combat writer’s block and how YOU can shout loudly over the competition.

http://youtu.be/JAsNWXg4Ox4

Enjoy… Giving advice might well be a responsibility but sharing thoughts and inspiring others is a gift.

Let’s start with a technical question: what do you write your music on?

In the box, out of the box etc…

In the box: I always use software and external drum machines. The analog world fascinates me but I have always preferred that certain comfort, the one that allows you to make music anywhere with just a few essentials. I always like to say that my studio is mainly in my head, it’s all about the way I assemble ideas.

I understand you’re an avid reader and collector of many artistic styles… Music and beyond. How do you channel all that endless input and stimulation into your own work to create something so precisely?

I’m inquisitive and like to learn new things, in particular to discover new forms of art. Music is only one aspect of this; the arts often have many visions in common. There is always a connection between a piece of music, a design, architecture, a simple image, a place …

Travel helps one to develop the awareness that diversity is one of the greatest gifts we have. If you had the chance to travel the world (with all the time and money you need) maybe you still wouldn’t be able to see all the wonders of this planet, the same is true if you were to listen all the music available … what we have at our disposal are endless possibilities, and these days all this technology is multiplying the possibilities even more, making accessible to all what before was destined to the single professional. Hence the awareness of living in an ENDLESS dimension, where the possibilities really are infinite.

The choice is always down to man; the human element, with his sensitivity and identity. ENDLESS is a big word and because of this it’s also an all-encompassing one, capable of holding everything… It seemed to me a word capable of representing the world we live in, and I’d like to think that what comes out of the ENDLESS house derives its inspiration from the great show continually playing out in front of us.

What do you find the most inspiration within music? Whole bodies of work? Sudden flashes of brilliance within one tune, arrangement dynamics? Or is this a ridiculous question?

I don’t think it’s a ridiculous question. It may happen that an idea arrives suddenly from nowhere, according to an unknown dynamic, on other occasions the fact that there is a precise reason brings it all onto a more rational plane, although it’s the way we filter the information that makes us unique.

It’s my belief that any person can find inspiration from anything: a painting, a film, a book, the body of a beautiful woman, some music, a child at play, a trip… There are some things that inevitably touch you to the core and which you’re bound to respond to. This happens to me too, I appreciate the beauty of all that stimulates me most. The artist puts all of himself in what he does and even if he wanders from his specific field it’s still about honesty and coherence.

I’ll give you an example, maybe a “ridiculous” one: many artists and producers who I admire have really interesting visions on their Instagram profiles… other’s profiles are empty, just as their music is empty. It’s about the way you see things, and I’m fully convinced there is a connection.

When you’re inspired by something you’ve heard, do you instantly turn to your DAW or do you make a note (physical or mental) and let it build in your head for a while?

I’m very instinctual, sometimes it’s an urgent need, sometimes it’s like sowing a seed that needs to be watered so it can grow. It’s also been the case that I’ve been inspired by a film, for example ‘Night Over Kwazulu’ which came about a few years ago when I saw a film on the life of Nelson Mandela.

I was so struck by it that I immediately felt the need to do something which in my own small way could be a tribute to the man. I thought how our life can be so complicated, difficult times where in the end we are just worrying about ourselves or those closest to us, with the ego as the main driving force. Just think for a moment how complicated it must be to worry about others, to have faith in your ideals to the point of changing the world? Such things cannot leave you unmoved. When that happens it’s like having a vision, it becomes very clear how to set the sound stage to describe the images that are coursing through you mind.

With so many inspirations and reference points in your head, can a canvas ever be blank when you sit down to work?

Yeah, sometimes I start from scratch just out of curiosity to see where it’s leading me. This too is inspiration. Have you ever set out on a trip without really knowing where you’re going to end up? What you live through has a different flavour. Several songs came about this way, for example ‘High Life’ and ‘On The Moon With You’.

An interview with BANKSY

One of Banksy’s greatest tricks in this selfie-obsessed, celebrity-hungry world, is that of anonymity. By remaining anonymous, Banksy takes the focus away from the artist or the source and puts the focus on the statement and the work. There is a reason that Banksy is the most infamous artist working today; Banksy represents an idea that many people identify with… and delivers it in a way that no man or woman has done so before.

We recently discovered that, eleven years ago, The Guardian’s Simon Hattenstone claimed to have met Banksy in a pub in Bristol and subsequently wrote a story about him. The first and only ‘official’ Banksy interview. We’ve been trying to track down this interview for some time and have finally located it for you. The reporter had his own concerns about identifying Banksy, even early into the artist’s career. Hesitations notwithstanding, Hattenstone was convinced that he had just met (and subsequently wrote about) the ‘real’ Banksy.

Here is Hattenstone’s article in full… What do you think? Did Hattenstone interview the ‘real’ Banksy, or was he simply fooled, as so many people have been since?

Simon Hattenstone, The Guardian, Thursday 17 July 2003

Banksy is due any minute. The only trouble is I don’t know what he looks like. Nobody here seems to know what he looks like. But they all know him. That is, they know of him. That is, if he is a he. The barman in the pub in Shoreditch, a trendy part of London with a whiff of the old East End, flushes when I mention Banksy and talks in a hushed voice. “Yes, I know Bansky. Well I used to, sort of. See, I’m from Bristol, and I was also involved in graffiti.”

Is he in the pub at the moment? He shakes his head diffidently. He is not sure he would recognise him and if he did manage to point him out, thinks he could get into trouble. I tell him that I’m here to interview him. He doesn’t believe me – Banksy doesn’t do interviews. But he has agreed to one this time, though he laughs when we suggest a photograph.

Banksy is Britain’s most celebrated graffiti artist, but anonymity is vital to him because graffiti is illegal. The day he goes public is the day the graffiti ends.

His black and white stencils are beautiful, witty and gently subversive: policemen with smiley faces, rats with drills, monkeys with weapons of mass destruction (or, when the mood takes him, mass disruption) little girls cuddling up to missiles, police officers walking great flossy poodles, Samuel Jackson and John Travolta in Pulp Fiction firing bananas instead of guns, a beefeater daubing “Anarchy” on the walls. He signs his pieces in a chunky, swirling typeface. Sometimes there are just words, in the same chunky typeface – puns and ironies, statements and incitements. At traditional landmarks, he often signs “This is not a photo opportunity”. On establishment buildings he may sign “By Order National Highways Agency This Wall Is A Designated Graffiti Area”. (Come back a few days later, and people will have obediently tagged the wall.)

Banksy has branched out recently – he designed the cover of the Blur album, Think Tank, and tomorrow is the opening night of Turf War, his first gallery show in Britain. He is somehow managing to straddle the commercial, artistic and street worlds.

It is easy to become addicted to his work. Since spotting my first few Banksies, I have been desperately seeking out more. When I do come across them, surreptitiously peeping out of an alley or boldy emblazoned on a wall, I find it hard to contain myself. They feel personal, as if they are just for me, and they feel public as if they are a gift for everyone. They make me smile and feel optimistic about the possibilities of shared dreams and common ownership.

On the Banksy trail I meet lots of devotees. They tell me how he comes by stealth in the night, how he has look-outs posted while he works, how his first exhibition will be in a warehouse though only the number of the road (475) is known and not the road itself. They say that Banksy has customised the city, reclaimed it, made it theirs.

There is still no sign of him. I walk into the street to phone Steve, his “agent”. “Ah, I’ll bring him over right now,” he says in his Bristol burr. I have the strange sensation of hearing him in stereo. I look up the road, and see a man 40 yards away talking into the phone. Steve doesn’t look like an agent. Actually, he says, he is Banksy’s friend and takes photos for him.

Two minutes later they arrive in the pub. Bansky is white, 28, scruffy casual – jeans, T-shirt, a silver tooth, silver chain and silver earring. He looks like a cross between Jimmy Nail and Mike Skinner of the Streets. He asks if he can nab a cigarette and orders a pint of Guinness. There is something on his mind. He tells me how he noticed that a piece of his graffiti has been papered over by a poster advertising Michael Moore’s Stupid White Men – a bestselling book about how to subvert the system. “So Michael Moore was the corporate who fucked me over and ruined my picture. It’s a weird world, a sick world.” But he seems to quite like the idea.

Banksy started doing graffiti when he was a miserable 14-year-old schoolboy. School never made sense to him – he had problems, was expelled, did some time in prison for petty crime, but he doesn’t want to go into details.

Graffiti, he says, made him feel better about himself, gave him a voice. And Bristol had a thriving graffiti culture. “But because I was quite crap with a spray can, I started cutting out stencils instead.” I tell him about the time I graffito’d someone’s name across the road. He nods, approvingly. “Ah, that’s the key to graffiti, the positioning.” I tell him that I felt guilty – not because I had broken the law but because I had used a can of paint to get revenge and the boy had to live with his name Duluxed across the road.

“Yeah, it’s all about retribution really,” he says. “Just doing a tag is about retribution. If you don’t own a train company then you go and paint on one instead. It all comes from that thing at school when you had to have name tags in the back of something – that makes it belong to you. You can own half the city by scribbling your name over it.”

As he talks, it strikes me that he may not be who he says he is. How do I know you are Banksy? “You have no guarantee of that whatsoever.” But he seems too passionate about his work not to be. What is his real name? “Pass! You must be kidding.”

Does he consider himself an artist? “I don’t know. We were talking about this the other day. I’m using the word vandalism a lot with the show. You know what hip-hop has done with the word ‘nigger’ – I’m trying to do that with the word vandalism, bring it back.” He also likes the word brandalism.

Banksy’s attitude to brands is ambivalent – like Naomi Klein, he opposes corporate branding and has become his own brand in the process. Now, people are selling forged Banksies on the black market or stencil kits so we can produce our own Banksies. Does he mind being ripped off? “No,” he says. “The thing is, I was a bootlegger for three years so I don’t really have a leg to stand on.”

That was what was so strange about working with Blur, he says. “It was weird because I must have worked a good dozen Blur shows in the past.” Did he tell them? “Not until well into the job. I said I’ve never been inside a Blur gig, because I was with five scallies in the car park banging out posters and T-shirts of you lot. So I did the job, and basically I spunked all the money on the new thing that I’m doing – BOGOF sculpture. It’s based on Tesco’s Buy One, Get One Free. I’m making sculptures, two of each. One I sell and the other one I give away free to the city. The first one, which is going to be unveiled today, is like a huge The Thinker by Rodin, in bronze, with the traffic cone on his head also cast out of bronze.”

That is another aspect of art he says interests him – efficiency. Why spend years on a sculpture when you can simply plonk a traffic cone on the head of a classic sculpture and create a whole new work? “If you have a statue in the city centre you could go past it every day on your way to school and never even notice it, right, but as soon as someone puts a traffic cone on its head, and you’ve made your own sculpture and it’s taken seconds. The holy grail is to spend less time making the picture than it takes people to look at it.” He smiles. I’m not sure that he really believes this.

Is it true that his prints sell for upwards of £10,000? He is not sure because he doesn’t flog them directly but yes, they go for a high price. What about the story that he designed a swish New York hotel? “Well, I did paint a hotel in New York City once. But it’s a dive hotel – $68 a night. Every room is painted by a different artist and if you paint it you stay there rent free.”

Over the past couple of years the very brands he despises have approached him to do advertising campaigns for them. Is there work he would turn down on principle? “Yeah, I’ve turned down four Nike jobs now. Every new campaign they email me to ask me to do something about it. I haven’t done any of those jobs. The list of jobs I haven’t done now is so much bigger than the list of jobs I have done. It’s like a reverse CV, kinda weird. Nike have offered me mad money for doing stuff.” What’s mad money? “A lot of money!” he says bashfully.

Why did he turn it down? “Because I don’t need the money and I don’t like children working their fingers to the bone for nothing. I like that Jeremy Hardy line: ‘My 11-year-old daughter asked me for a pair of trainers the other day. I said, ‘Well, you’re 11, make ‘em yourself.’ I want to avoid that shit if at all possible.”

I ask him if you need to be nimble to be a good graffiti artist. “Yeah, it’s all part of the job description. Any idiot can get caught. The art to it is not getting picked up for it, and that’s the biggest buzz at the end of the day because you could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn’t be as exciting as it is when you go out and you paint something big where you shouldn’t do. The feeling you get when you sit home on the sofa at the end of that, having a fag and thinking there’s no way they’re going to rumble me, it’s amazing… better than sex, better than drugs, the buzz.”

He talks about the fun he had at Glastonbury this year. “The police seemed to feel very relaxed, and they were driving Land Rovers. We found two parked up with the cops out chatting to girls on the main drag and I nearly always carry a can of paint, so I just walked up and did a random swiggle on the side of one, and then handed the can of paint to my friend who wrote ‘Hash for cash’ on the side of another. By the end of that night, we had done seven police vehicles with aerosol.” He says he has been arrested for graffiti in the past, but not in recent years, and never as Banksy.

Was it a tough decision to exhibit in a gallery? No, he says – first of all, this is hardly a posh gallery, it’s an old warehouse. Second, without a formal space, how could he possibly display his live sheep, pigs and cows? Actually, he says, graffiti is by definition rather proscriptive. “Most councils are committed to removing offensive graffiti within 24 hours, anything racist, sexist or homophobic, they will send out a team within 24 hours.” But somehow if it’s “art” in a gallery, the boundaries of taste aren’t so rigidly defined.

He talks about his stencils of Jewish women at Belsen, daubed in fluorescent lipstick – an image as poignant as it is grotesque. “Now I could never do that on the street because it’s just blatantly offensive.” But in a gallery he can show it in context. “It’s actually based on a diary entry from a colonel who liberated Bergen-Belsen. He described how they liberated this women-only camp, and a box of supplies turned up containing 400 sticks of lipstick, and he went nuts – ‘Why are you sending me lipstick?’ But he sent it out to the women, and they put it on each other, they did their hair; and because it gave them the will to live it was probably the best thing the soldiers did when they liberated that camp.” He tells the story beautifully. “See, that’s talking about how the application of paint can make a difference.”

Does he ever see himself becoming part of the art establishment? “I don’t know. I wouldn’t sell shit to Charles Saatchi. If I sell 55,000 books [he has published two, Existencilism and Banging Your Head Against A Brick Wall] and however many screen prints, I don’t need one man to tell me I’m an artist. It’s hugely different if people buy it, rather than one fucking Tory punter does. No, I’d never knowingly sell anything to him.”

He returns to the subject of the opening night, and talks about it with such excitement. “A part of me wishes I could go because I’ve put together a really nice setup.”

But, he says, it would be too risky. Will his parents be there? He shakes his head. “No. They still don’t know what I do.” Really, I say, they have no sense of how much you’ve achieved? “No,” he says tenderly. “They think I’m a painter and decorator.

Via artFido

LUCA BACCHETTI’S 5 ARTISTS OF THE MOMENT

In June Luca Bacchetti dropped a phenomenal game-changer by way of his OVO EP, a genre-defying three-tracker touching upon cinematic ambient bliss, techno and house. The Italian maestro is back with another gem, this time releasing music by the enigmatic producer HopeAllIsWell in the form of his Hope All Is Well EP on Bacchetti’s Endless imprint.

Currently enjoying a busy summer filled with DJ gigs, we checked in with the Endless label boss and asked him to share his five favorite artists of the moment.

The OVO and Hope All Is Well EPs are available now on Endless. Catch Bacchetti at Sankeys, Ibiza, on August 31.

1. HopeAllIsWell
Here at Endless he is our current favorite. HopeAllIsWell is at the front for us and a producer with 20 years experience, whose work is conceived with quality in mind and destined for the hippest of dance floors. A visit to his new SoundCloud comes highly recommended. You will be hearing a lot more from him. His new EP, Hope All Is Well, is out now on Endless.

2. Eduardo De La Calle
Eduardo De La Calle is an incredible find. Of course I already knew his work, but in the last two years I have grown to love his sound. He is very sensitive both as a producer and above all as a human being. This sensitivity permeates his music with its singular atmospheres. The music, just like him, is special. He will be release a four-track EP out on Endless in the autumn. He is also director and producer of a great documentary on the clubbing scene

3. Patlac
I don’t know Patlac very well, but his music speaks for itself. I am in love with his productions and remixes. He’s an artist to keep an eye on!

4. Johannes Brecht
Johannes Brecht hails from Stuttgart. He is elegant and at the same time he knows how to get people moving on the dance floor. As a musician he can pull off certain nuances which are often missing from many of today’s productions. His work is never pedestrian and can include forays into jazz without forgetting the darker club atmospheres. Just listen to his records on Sunday Music, Mule, Sonar Kollektiv or Poker Flat for confirmation that he’s an artist who shines with his own light.

5. André Hommen
For several years now I’ve been following André Hommen. Everything this young producer does is absolutely convincing. His clarity of sound and the way he can move from one genre to another are what stand out for me. His recent EP on Objectivity is a masterpiece.

Interview on Big Shot Magazine


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