I have to act professional, in the end it’s my job. ![]() I have definitely matured by coming into contact with so many people from all age ranges and different cultures. People can be dicks when they block the way… It’s easy to rationalize that this person should’ve taken an earlier bus or train, but when you are in the same situation… oh man, that’s no fun! Especially when you are trying not to miss a gig.Īll this traveling amounted to life experiences in general. If you’re at an airport and someone’s running, you should get the f**k out of their way, because they’re trying to catch a flight (laughs). In terms of life experiences, how has all the traveling impacted the way you look at life? And people in general perhaps? At a festival the distance between you and them is bigger so you feel a little less of that vibe. ![]() When playing at clubs, sometimes your set is at 5 AM, while your flight leaves at 10 AM, so you end up with just two hours of sleep.Īt the same time you are more connected to the crowd in a club setting – you get their reaction straight up in your face, which is amazing. Playing at clubs is exciting, but when playing at festivals you can go to bed at a fairly reasonable time. I also enjoyed playing We Are Electric Festival in Holland. A lot of my friends that make music were there. Having to play at different countries throughout the recent years what has been the most memorable gig and why?ĭefinitely Let It Roll, because it was my first time being at that festival. I also always find it hard to say that I made something good, because it feels arrogant. It’s really hard to judge your own music. Due to our different perspectives and views on music it’s really useful to get feedback. Despite us starting with the same genre, we ended up in different directions. If someone struggles with making a certain sound, we try helping each other out. So it’s something like a mastermind group? At the same time, we kept in touch through a group on FB. We all came from that sound but over the years we started finding our own niches, some in drum and bass, some in beats. We originally came from a forum called neurohop – which kind of disappeared – so we went onto Facebook. I have this group of friends for about five years now. How do you stay on top of things in terms of production techniques? Does it boil down to doing research on your own in terms of theories and techniques, or is it perhaps more because of the people you are in touch with that provide feedback? What So Not liked the remix so much, he asked me for a collab. How it felt? The best feeling of my life! I thought: ‘Sick man, now the pressure is on.’ It was really insane, because these are two of my favourite artists. I was eating lunch at the time with a friend and then I got a message from him. ![]() A week later Walter contacted me and offered the stems. I then simply asked: ‘Can you get me the one with Skrillex?’ I wasn’t really serious about it and figured in the worst case I would end up with a ‘no’. He asked me what song on the album I wanted to remix and gave some options. I’m a huge fan of WSN, so Walter asked if I would like to do a remix, to which I enthusiastically said yes. What So Not’s manager approached Walter and asked if he knows artists who would like to be on the remix album. How did that come about and how do you feel about it considering you mentioned Skrillex was your gateway to Drum and Bass production?Įarlier this year, I signed with Walter Flapper, who also manages Noisia. This Friday your remix for What So Not and Skrillex is coming out on Ninja Tune. So here it is: an in-depth convo about his rather humble beginning, maturing as an artist, and the deeper meaning of his most recent work, fittingly called Solitude. Many reasons call for another portrait of an artist who has risen at a near unparalleled speed and authenticity. Not just with an eight-track EP on Invisible Recordings but also a remix of What So Not & Skrillex’s Goh on Friday.Ī lot has happened since the last UKF-interview with this versatile breakbeat aficionado. Commanding respect from peers through second-to-none productional skills and blessed with a unique gift of making lasting impressions, whilst still only 19 years old, Jonathan Kievit (Signal) concludes his release run for 2018 this week. File under meteoric: Dutch producer/DJ Signal has swept across the international scene with undeniable dynamism.
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