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the lost tribe of techno part 3 – trish van eynde interview plus ecdr podcast 14

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The third in our Subject Detroit/Real Booking Artist Agency partnership series is from (Subject) Belgium’s Trish van Eynde, who shows us how she plays with three turntables.

Trish Van Eynde is both an amazing DJ and producer, has being mixing up her own blend of techno-soul goodness for over a decade now, and she sure knows how to make tracks with soul. Her upcoming production on Subject Detroit is no exception, so before the imminent release of "Subject Belgium", Electronic Directory catches up with Trish Van Eynde to talk about Belgium, DJing, and her upcoming releases.

Interview with Trish Van Eynde by Kazuumi Ishii

First off, tell us a little more about when you first worked in the music biz at Buzz Records.

I started working for Buzz Records when it was at its end unfortunately, Indisc was then bought by a major. But fortunately not too late to still pick up the good records, such as Relics, Paperclip people…

For me it was so wonderful to be able to find a job in the music industry, I felt very privileged. But it was still hard in a way because I still had to confront the commercial site of music and those days I was very, very… very puristic. Actually I still am :o) At the same time I was a fresh resident at the Fuse Club in Brussels, I was still very very young and it was a new world opening up for me…

You also worked at R&S Records in A & R. Can you tell us the most interesting or unusual experience you’ve had with the artists on the label ?

Well, actually there are several.

I remember one summer it was "Ten Days of Techno", for me it was literally 10 days because almost every day there was an artist of R&S Records performing.

And that was part of my job off course, accompanying the artist day and night… It was literally ten days of techno for me and still working in the office during the day, luckily most of it was off course hanging out with the DJ’s, but still… I also had the chance to hang out with Derrick May, it was then that he showed me how to fade groovy but also that I should look after my body when I had a heavy weekend, the conversations we had… the whole ten days are still today very special to me.

But also the fact I got to meet my favourite artists at R&S Records, all those legends over the whole period, all the good music that was released, that was just priceless…

As for now, you’re running your label Electric Art. How do you see the role of a record label ?

As I am still true to the music I believe in, so I also want to release that kind of puristic music, the label is not meant to put out dancefloor music, it could be off course, but the idea behind is that the music should be rather an art, to be a source to the public…

These days, most artists have their own label, most of the time it has become an extension of what they do, what they represent, in a way your label can be your business card…

You’ve been part of the Belgium scene for quite some time. How do you feel the Belgian electronic scene has changed since you started, in terms of the types of music that you hear out and the venues ?

Well, I must say I’m disappointed in the Belgium scene at the moment, so many things have become so commercial, there is really no more soul left in it.

And knowing that there is so much talent over here makes it even worse. When I started people were still in it for the love of music, they were curious, looking for new horizons, open for real music and prepared to evolve all the time. Music was art……

But there is still a core that keeps on going and I respect them enormously for it…

I cannot imagine that happening… I’d definitely imagine that Belgium has always been a healthy techno scene. Most of the electronic scenes were lacking soul over the last few years, but it’s better now. In Belgium I’d love to thank Fabrice Lig, Spirit Catcher, Rodriguez Jr., Pedro Cali, and of course you at all. So, Fabrice Lig opens a club in Mons called Cielo. A place for a bright future I’d imagine. What do you think about the club ?

I agree :o) Belgium did have a healthy techno scene for a long time, true… But lately it hasn’t been like that anymore. You know it’s the club scene, promotors, the fact that real good parties don’t take place anymore, because they are rather interested in making money then in music itself, supporting true art form…And because of that people are not aware of good music anymore because they get the wrong input, the wrong sources… although I slowly start to see some change and I’m really happy about that. There a lot of people true to the music, still going for it, the core… I want to see them more and more reunited !

But just like Spirit Catcher, Rodriguez Jr, Pedro Cali, Franco Cangelli,… there are still artists that keep their integrity. And I’m actually really positive about it, if we want to do something about it we have to do it ourselves and it is time for a change ! But you are absolutely right ! I have always been a fan of Fabrice Lig, for me personally he’s one of the best Belgian / international producers, besides that I have always been a fan of him. I think it’s great he is opening Cielo and I will support him in every way, because he simply deserves it and it’s about time someone does something about the scene, takes the responsability and the creativity and does something with, Belgium does need some fresh air ! He has always been supportive to me too,… and in fact he’s one of the core people I’m talking about.

Me and Klaina recently started 2 different radio shows, motorcitysounds and one in collaboration with Spastik and Raphael Klapps, Club 106 and we will give him all the credits he deserves !

So, who you rate as a DJ or producer locally ?

Hahahaha…… off course the ones I prefer.

As a DJ my number one is definitely Klaina, he’s so talented, skilled, plays great music and can be so versatile. He is also on his way to be a great producer, I already heard some great stuff, he is definitely someone to look out for.

I’m pretty open for new talent, you know. I think Franco Cangelli is doing a great job, it’s like every release is getting better. So is Sam Ostyn. And off course I’m still a big fan of all the older stuff Fabrice Lig released, I still believe he has made some mental genious stuff, but also real music…. great music…

And I’m sure the next generation will give us some good producers !

You are now on the Real Booking Artist Agency roster. Guys like Orlando Voorn and DJ Bone have awesome skills on the decks. What’s your aim playing with 3 turntables at once ?

You can be sure I feel really honoured by it, it’s something that always has been a dream, and now I’m actually between the people I have always admired… And what my aim is playing 3 turntables…The thing is, first of all I can’t keep my hands of the faders or equalising, creativity is in the moment itself, with 3 records you can create a new melody right on the spot, you build up more suspense, the beauty of 2 strings falling together and put another rhythm under it, but it also builds up to a certain dynamic.

Richie Hawtin talks on his biog about technology allowing him to ditch mundane beat mixing, what’s your stance on all these big names giving up vinyl and using Ableton type programmes instead ?

Well it’s about the future, and techno has always been about the future, hasn’t it ?

I believe things still need to stabilize…I have been playing with Traktor, vinyl, CD’s all at the same time, because I experienced it as a lot of interaction. But then again, program crashes, the crash of a back up, lost all my tracks, the time it takes to connect the cables, all moments you are not dealing with the public nor the music, but rather occupied by a technical issue……On the other hand it can give you possibilities to chop up a track and play it, make your own versions…

If you have a vinyl, you can always put it on again, you can always record it again, you have something in your hands to do something with, you still have something visual… It has it’s own charm. I think it’s very different for everyone and very personal… I just can’t give up my vinyl……

But I do believe in the future and I believe things always need to progress, but not at cost off, off course !

Can you tell us a little about the mix ?

The set… well…it’s a life set. I was in a very exhilirated mood and you can hear that :o). I like to do rough mixes because the exact moment to throw 2 records together or the exact moment to throw in a 3rd one is magic, and that moment is unique, the melodies singing together it makes it so much more a life… cutting, fading, creating something with the records that’s what I love to do, but mostly mixing melodies, it’s hard to do but when you know it’s in key it is wonderful sound you create on the spot, as well pushing some records up by putting more groove and rhythm in it…… Actually it’s the crowd that pushes me, that’s what I always prefer live sets :o), they are real… The essence… I like to give people more and I just want them to have a good party, but a good party with the best music I can give them…

My message, my skills are all theirs……

With DJ residencies at the Fuse Club you must have played some pretty memorable gigs in the last few years. Any gigs that stick out in particular ?

Oh, I have so many memories at Fuse, so many, so many years. The atmosphere, the kind of people, the good vibes, the good music…

I think the very first time I had to play with Derrick May, meeting him… meeting the very legend, watching him and learn.

The privilege to get to know Jeff Mills and Dan Curtin, both very serene people, there is something spiritual about them that makes them glow as a person, so enlightened… Something you find off course in their music.

Meeting Orlando Voorn and seeing the way he mixes, scratches,… people went so crazy some even started hitting on the walls.

Booking, meeting B12, Black Dog, such modest great artists ! Arne Weinberg, great artist but also very cute :o)

Having dinner with Laurent Garnier, having conversations about marriage.

Also……One time the monitors caught fire and that were actually coming out big flames, it was so scary and hot… there was a whole scenario going on all different people trying to extinguish the fire, but yet I kept on playing music and the crowd just went mental hahahahaha… they loved it !

But also all the lovely people I met and the friends I made there, some of them are friends for life. Actually artists or not, famous or not, I met some real people, real good people… and I feel very privileged to be blessed with all those memories.

Subject Detroit seems to be the perfect fit for your sound. How did you get hooked up with Subject Detroit ?

Well, I need to thank Klaina for this, apparently he spoke so much about me that by the time I send some tracks they kinda knew who I was. I’m really greatful to him for this.

Also the fact we booked Orlando Voorn for Electric Room at Fuse, I already got in contact with them…

I just think they are great, heartwarming people… So rare… so pure… DJ Bone is a true example to stand for where you believe in…and me I’m just hooked to that true Detroit sound.

You often produce with Sam Ostyn. Do you enjoy the collaborative process ? Who does what in the studio ?

Yes, I started producing with him. He taught me so much and he’s such a talented person ! When we produce together, it’s more a synergy, it’s being compatible. But rhythm and mastering is really his territory… Creating sounds… I have an enormous admiration for him… But the thing is we melt together when we are "trackin".

On "The Lost Tribe Of Techno" compilation there are two Metro Unit tracks – how do you produce a track with him, under the alias ?

Well, normally we always have been producing under "Sam Ostyn & Trish Van Eynde". But we also started with a new concept of DJing together with 4 turntables, 2 mixers, 2 laptops and occasionally with synths as well, depending of the available place :o) So we thought it would all fit together if would call it all "Metro Unit", also the fact that Unit refers to us being an unit of two… It was a logic step to make.

You’re obviously not just influenced by Detroit techno (or are you ?). Where else do you find inspiration outside music ?

I’m very much influenced by Detroit Music, if not mostly, for me it has always been the best and genuine electronic music. Futuristic with soul in it,the story behind it. Very much from the 80′s on it was my preference ! But I’m also influenced by whatever is futuristic, science fiction,…. cyberpunk… films like Blade Runner, futuristic books… It’s the bubble where I live in, it’s the world where I live in…

I’m inspired by futuristic gadgets, architecture, documentaries, a vision towards a better future,… But often my own emotions, my inner feelings that drive me, feed my inspiration… abstractism, ideas put into visuals and translated again into music… I go that far, but at the end of the day I’m just making music :o)

What does the production pipeline have in store for 2009 ?

Well…… I’ll keep on working, but at the same time I can’t force myself. I’m driven by my own emotions and again that bubble, where I live in or the futuristic fantasy where I would want to live in… It all leads a life of its own…Although there have been requests and I’m also planning to make an album that people can download for free. There is also a track on the Soleil compilation mixed by Peter Echoplex, also a remix I did for him, as well the Subject Detroit compilation… There should also be a release for Night Vision Records with a remix of Orlando Voorn and of course I would like to make some more tracks for Subject Detroit, as I consider it my home label… they have my heart…

They are real ones………

Download Electronic Directory 14 Trish Van Eynde Podcast

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For Trish Van Eynde booking requests please contact REAL Booking Artist Agency.

Written by Kazuumi

April 11th, 2009 at 12:00 am

One Response to 'the lost tribe of techno part 3 – trish van eynde interview plus ecdr podcast 14'

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  1. Nice interview….
    looking forward to the Lost Tribes release…

    Arne Weinberg

    12 Apr 09 at 1:45 am

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