Resident Advisor mit einem superlangen, superinteressanten Interview mit DJ-Legende Jeff „The Wizard“ Mills, der in den 80ern als erster Deejay-Techniken aus dem Hip Hop auf Electro, Techno und Acid anwendete, mich dann in den 90ern mit seinen Sets auf 3 oder 4 Plattenspielern plus 909 wegblies und heute vor allem elektronische Experimente mit klassischer Musik und Live-Soundtracks zu SciFi-Klassikern macht.
Tolles Interview mit einer Menge Details zum „Mindset of Jeff Mills“ während seiner erruptiven, gnadenlosen Techno-Sets und ich hatte keine Ahnung, dass Eminem den Wizard explizit in seinen Lyrics erwähnte. Alleine der Auftakt des Interviews ist bereits reines Gold, als Mills seinen Interviewer fragt: „Are you a DJ?“ – „Yes.“ – „OK good. Because I’ll explain some things that only a DJ would be able to understand.“
Ein paar favorite Bits:
Anyone can be a DJ. But when you get down to it, it’s more like a science. You’re really a sound scientist, because you have to know which frequencies match up, and which frequencies hide other frequencies, for instance. You have to know how to anticipate when the track will naturally break down. You have to know when you don’t need to do anything, because the track will work itself out. And then you have to keep in mind the audience and how long they’ve been listening to this transition. […]
How I can situate that track will determine how I bring this next track in. If I take all the bass out, for instance, or if I take all the highs out, all the treble out. That will tell me that the track I’m about to bring it, I can bring that in with the treble, because that fills the gap. Or I can just make it all bassy, so the two basslines merge together to the point that you don’t know which one is which. The flurry, as you say, is preparing what I need to do in order to make this transition in the most interesting way. […]
Perfection is not always the point. To hear a mix come together creates a whole different excitement in itself. When you hear the tracks merge together, conceptually it pulls you into the whole process. If you never let the audience hear that, then they might believe that you’re perfect, and that you mix like a computer, like software. So that’s not always really the point. Sometimes I purposely lag the beats slightly, and then bring them together again, and that’s because I want you to hear that mix perfectly, and then we can move on. […]
I’m not a party host, I’m not a cheerleader, I’m not an aerobics instructor. I am a DJ. And my task has always been to play music, but to make it as interesting as I can, to make it as appealing to the audience as I can. And that might be slightly different from a DJ’s objective today. Back then, a DJ’s purpose was to play music, not necessarily hits, but that you were sensing could be a hit, and you had to make it work. You had to play this record in a way that would make it just incredible to the audience. You had to sell it. […]
There would be things in my record box that are only designed to remind me of certain things. All throughout the ’90s, during the whole rave thing, I would put albums by James Brown in the bag. Not for me to play, but when I’m filtering through the records, it reminds me to keep it funky. Or Steely Dan—it reminds me to keep it deep. And then I would grab something and play it in that way. […]
when I buy music, I typically focus on the last quarter of the track. And when I’m DJing also, it’s the last quarter that I’d prefer to play more than the beginning. The track breaks down in the last quarter and becomes more solidified. That’s where you find the better mix between sounds, that’s where you find the real groove of the track, and the most important elements of the track. All in the last quarter.