Obsessed With Precision: MJK's Threedeck Mixing Connects Dubstep, Grime And Techno
The mix that stands out to me when I use a triple deck is the Ilian tape mix, as each CDJ seems to suit a different mood or genre.
I'm so proud because it's the first time I've put my heart and soul into it using three decks of cards and it turned out exactly how I wanted it to. I plan on updating all my collections. It was completely improvised when I was doing the radio show, but two or three hours of improvisation was the best I've ever done. I often have some brainwaves when I'm alive, so even if it's two hours of planning, I think it's important to do a spontaneous mix of what you think and see how it works. . You will find all the beautiful moments.
I am a very professional planner, but I think the way you plan should be very spontaneous and free, so that if I need to get out of these traffic jams, I can do it.
I often like to increase the volume of the songs by stopping and speeding up the main CDJ beat. I recently turned it off and am trying to see what it's like when it's slow. I love giving songs a new context.
In this mix I play "Footcrab" at 120 bpm. "Footcrab" I've always liked but never played it for some reason, but now on 120 it's a completely different song and it does completely different things. That's what I love about being a DJ: sometimes you can change the song.
Usually these things don't look very good. I'll never show you songs that don't play, but I can play thousands of songs, play them at different BPMs and you'll get nothing.
Now if you're a three-deck wizard, do you think it's boring to play with two decks?
I always like to do things in two sets, like the Tasha show where we always move back. You can definitely enjoy both. I think the best thing is that whether you play two, three, four, five or six songs together, the transition between the songs is important.
You can still do amazing things with just two voices. Growing up, my favorite band only played two songs. Now I like doing three-story things because I'm a very motivated person so I can keep going.
One of the most interesting aspects of your set is the use of beats normally associated with DJs, where you quickly go in and out of a tune, but in a 4/4 technique.
It was also a result of trial and error. When I was doing a lot of shit, it was clear that the Whig Power, hanging there, General Courts, hanging there, Grandmixxer, hanging there, Nefa-T.
When I did dirt, it was very technical. Spread, cut, mix quickly. He would often play eight-bar music, create new music, and cut different signatures to change what you heard.
I think I still cut a lot, but now that I have more instruments, I can really create a rhythm, in a way that's more than 4/4. I can do a lot more than cut a few notes, and it's more danceable.
There are different tunes around.
Yeah, the cool thing is I think the training I got playing grime and mixing that way was natural when I started playing techno to try the same techniques.
I didn't realize the magnitude of it until I saw DJ Bone Attack's mixtape. If you haven't seen it, check it out, it's amazing. Skateboarding showed me that when I was in Munich and speechless I thought, "Techno plays like grime." "What he's doing is crazy, I've never seen anything like it before. A lot of old techno kids are doing what Nefa-T is doing: having fun and singing the same songs over and over again."
It is interesting to see the similarities between the two cultures. We realized that people can do what we want them to do. I was like, "Yeah, I want to be that flexible, I want to try that!" »
They are now officially live in Rinse FM .
Yes, I am very happy, especially since I am very proud of the first performance. I'm B2B Zed Bias...never thought this would happen. They say you'll never meet your heroes, but this was crazy. There was a lot of chemistry and I was nervous with him, performing all the Z songs I had. I was like, "I want you to know that it took me a long time to get this," and I've been bugging people for years.
Even he was surprised to draw this. Being with someone like that and talking about your favorite songs was one of the best feelings you can have and the show was amazing. That is, on all levels, including voice and personality. It was a great show.
In addition to Z Beas, she previously played b2b with re:ni and Tasha. Is there anyone else you'd like to star on your show?
without problem. I have the privilege to come on Rinse FM and invite someone I've always wanted to play with. I want to make my show a place where you can come and do whatever you want, do things I won't touch, do things I won't. I'm always looking forward to doing more two-hour solo shows, but yeah, I'm really excited about having guests.
Zenkers definitely stands out as someone I want to play with. I have a few people I want to invite to the show, but I don't want to spoil them...you'll have to see for yourself. I got to do part two of my B2B show with Tim from Tim and Barry from Rins , we recently worked together on the NTS show.
What can we expect from MJK in the future? You've devoted all your time to music, haven't you?
Yes, maybe four weeks ago! Listening and playing music is my job. I hope it lasts forever. It's an incredible honor to be able to do this, especially with all the problems we're going through right now.
My duet with Nefa-T in The Cause has just been released, and I'm really excited about it.
In terms of production, Patchworks Vol. The EP with Skee was the first song I recorded in a long time. I want to set up my space so that I can work alone and do things with others.
I'm really excited to explore different styles of music and get back to my regular production work. I didn't have time for that because I had to work at least 40 hours a week. I don't have that excuse anymore, so it would be nice to see what I can do with this free time.
Sometimes I worked seven to four hours because my job was very demanding, I was very busy and customer-oriented and I had to deal with a lot of people. I was responsible for so many things, I couldn't work overtime and it was hard to replace anyone, so I often had to go back to work if I had a show. I was working when I covered up and luckily I left early enough to do so.
I slept most of the night and would do it again in a heartbeat. I did a lot last year. I would put on shows on my lunch break at work and then go and perform on stage. It was constant and I had very little sleep, but the good thing is that I never denied an opportunity, so I am where I am now.
Although I love to complain and people complain about their jobs all the time, I am very lucky. I was in a unique position full time, but it was a lot of work. Once I started I was happy doing it and things slowly started moving again. After I moved to London, the only gig I played that year was b2b2b2b with Victor, Oblig and Skimask at the White Hotel [in Manchester] for seven hours straight.
They should have given Ski a break or asked him to play, but he chose Oblig and Viktor to play with me. We just did it and there was no gossip or anything after that. He didn't have a radio show. It was a very good business relationship, but it did not generate any interest from me. Nothing to complain about, I was very lucky there too.
Finally, how would you describe your collection?
I like to think that this mix is a combination of all the sounds and experiences I've ever had. I've been working on this for a while, looking for new insights into playing at slow speed, while maintaining the same context as playing at normal speed.
I'm always working to find the right balance in every set or mix I make, and even though I know there isn't, I still enjoy the journey. I think that sums it up best: a snapshot of my musical journey and what I'm working on.
'Patchwork. Size. 1' is out now on Obligatory Records, buy it here.
Tibor Hesketh is the digital internet at Mixmag, follow him on Twitter.
