No Brasil o artista já se apresentou por São Paulo, Belo Horizonte, Brasilia, Salvador e agora, Paraná. Para sua apresentação no COSMOON Festival 11 Anos o artista prepara um diferenciado LIVE ACT de Techno, High Tech e Minimal.
"Problem (...) is that the market has become quite saturated where new producers are impatient and just want to release the first thing they make, instead of really learning their craft, being patient and waiting until they have really nailed their sound."
The underground London electronic music scene has his influence since a long time ago. I am talking about Cozzy D, more than 10 years of consistent hard work either organizing events, playing, producing music or releasing others peoples music and running his own label "Lower East Records".
Cozzy D has his releases in well known labels such as Dirtybird, Material Records, Get Physical Music, Noir Music and many others. At Lower East Records his focus is to mix new talents from England and abroad, as MK, Larry Heard aka MR Fingers, Richy Ahmed and brazilian Volkoder. Tudo Beats has interviewed him to get to know more from what he is doing now and plans for future! Check it out!!!!
1.After all these years you had several influences. Tell us 5 tracks you have been listening to lately Pearson Sound - Thaw Cycle Tuff City Kids - Wooden Dreams Cape Cod - Holding On Janson - High Point Moodtrap - Make It Better (Original Mix) 2.Its known your involvement with the underground scene in London. What is ‘underground’ for you?
Underground is just a term used for something when it is only known amongst a niche group who are into the same thing. For example a new house / techno track that has just been finished in the studio and played in a club for the first time will be very underground. Something only becomes commercial once it crosses over and becomes popular and many people have been exposed and like it / talk about it. 3.Our friend Elijah Collins says “If we are always willing to pass on information and look after each other the music will prosper.”. How do you see that today. Yes he hits the nail on the head - spread the love ;) 4.Producer, DJ, promoter, label owner for over a decade. Which one are you more involved nowadays?
I've always said I am DJ first, and everything else is second. I am still heavily involved running my label which takes up a lot of my time and of course am making music. I've taken a little break from throwing parties but that's not to say i won't start promoting again, so watch this space ;)5.What do you feel that has changed in the Industry since you started? Back when I first started DJing in 1998 you had to make Mix Tapes and pass them onto promoters to get gigs. Nowadays you really need to be a producer to make that step up. All you need is a laptop and you can even make music in your bedroom. Problem with that is that the market has become quite saturated where new producers are impatient and just want to release the first thing they make, instead of really learning their craft, being patient and waiting until they have really nailed their sound. The Internet has revolutionised the industry now. You can speak to anyone at any time, and social media can be a powerful tool to get yourself heard. It also acts as a bit of a negative however where it seems to have become more about marketing or controversy and less about the music which is a shame, but it's also great as it does gives everyone from all walks of life an opportunity and a voice.
6.Basslines, Crafted beats and versatility. Please describe your music. Yes I have quite an eclectic taste and am a fan of all styles of electronic music, and like to show versatility in my sets and not just play one sound. I would get bored just playing 2 hours of loopy obvious tech house. I like to play some deep tracks, some more techno, some soulful vocals and some more melodic and emotional... I know it's quite cliche but I prefer to go on a bit of a journey with my sets. 7.How do you make your music? (Consider elements, technology, equipments, what is your up-to-date info on that.)
I like to use a lot of hardware, and quite often use analogue pieces of kit such as the 909 or 808, for my beats and the 101 for synth sounds.8.Lower East is a famous underground label in and out of London, Mixing home-grown talent with artists from abroad. Volkoder, Brazilian talented and very promising DJ is one of them. What can we expect from that? Volkoder is someone who I have admired for a while so was very pleased to have him remix my track 'Anxiety' earlier this year, and what a great job he did ;) I invited him to play at my 5 Years of Lower East party at EGG in London in August which was a great night :) 9.As a true clubber do you feel today there is less people clubbing in London than 10 years ago? I would say there are probably more to be honest. It seems there are more and more parties popping up all the time and a lot more larger scales events & festivals than there were before. 10.What’s latest with Cozzy D?
I've just had a release on Mihalis Safras label Material Series entitled 'Hey People' as well as a remix on Lower East as part of the 5 Years Compilation. I have another remix on the forthcoming Lower East release from Moodtrap which also includes a remix from Gerd, plus I have been working on a collaboration with Roland Clark and am in the process of finishing up a couple of new EPs to release in the new year.
Triade Records, braço da agência Triade Brazil, prepara seu 6º lançamento.
Para os próximos lançamentos, o público pode esperar por novidades de Fabrice Lig (Planet E), Silicone Soul, Kraak & Smaak e outros nomes que ainda vão ser divulgados.
Nos primeiros cinco releases, o label trabalhou com nomes como Robert Babicz, Daniel Stefanik, Stekke, Rodrigo Carreira, Gabriel Boni, Dub Recycle, Pimpo Gama & Zacchi, Talash, Bernardo Ziembik e Max Underson.
“O sexto lançamento está a caminho e será anunciado em breve”, afirma Giovani Lufrani, diretor da agência. “São vários EPs com a produção em andamento e o ano de 2016 é com certeza um ano muito importante.”
- Robert Babicz -
Agência de bookings com sede em Curitiba, a Triade Brazil já tem nove anos de mercado e já realizou turnês com alguns dos mais importantes artistas de música eletrônica do planeta como Ricardo Villalobos, Luciano, Carl Craig, Troy Pearce, Nic Fanciulli, Oliver Huntemann e Robert Babicz, além de eventos como o festival Quinto Sol.
Para saber mais visite o site da Triade Records. Veja os artworks dos primeiros 5 EPs na galeria acima.
Leia mais:
- Mix Mag - "NOVA GRAVADORA TRIADE RECORDS PREPARA 6º LANÇAMENTO" - Revista Phuse - "Triade Records É A Nova Gravadora Do Brasil" - NZPR
"Where's my house?" Londons electronic music from 1989 to 2016.
Marc Castello and Nazen Carneiro.Tudo Beats/ Phouse It was the year of 1989 when my friend asked me if I wanted to go to a party and told me it was a new style of music called Acid House. The party was being held in a disused warehouse, which was the old Wembley Film Studios.
We arrived at the party at around twelve in the night. Three or four big burly bouncers on the doors. It was twenty pounds to enter, which was a hell of a lot of money at that time. We payed our entrance and the bouncers slid a big door back. For an instant moment it was like beginning a dream, something I have never experienced before this. Throbbing bassline music and people dancing wildly. I think within thirteen minutes I was hooked to this new sound called House, a mix of Chicago house and Detroit House. Produced by artists such as Lil Louis, Fingers Inc., Frankie Knuckles, Marshall Jefferson and Derrick May The music soon caught on the youth of London and it was not long before the clubs were playing these sounds and english producers were producing there own style of house music. One of the main clubs at the time was “Shoom”, started by Danny_Rampling and Paul Oakenfold, the Hacienda in Manchester started by Mike Pickering and the Trip Club opened by Nicky Holloway, plus the Astoria Club in Charing Cross Road. Some great DJs played at this Clubs. John Digweed, Dave Angel, Pete Tong, Sasha, Fabio An, Groove Riders, Paul Oakenfold, Carl Cox, these were the DJs that everybody wanted to listen at the time.
As time moved, more Clubs poped up. Turnmills Night Club, The End (club), Plastic People, Bagleys Warehouse, The Fridge... All sadly closed now but these were some of the places where you could hear great underground music and great DJs. The music was also changing when in 1991 Tecno had come onto the scene along with Rap, Hardcore and Progressive House.
Also the free parties were beng held up and down the M25 motorway. This was the “Summer of Love”. Some of the famous party at the time were Raindance and Biology but there were many smaller ones and these parties were mouth to mouth only. You would call a telephone number around 9pm on a Saturday. An answering time would tell you “to drive down the motorway far as much as fifty miles, come off a junction 11 or 6 keep driving down a little country lane and you will come to a farm and the party is there.”
Many times we’ve done this in large groups of ravers, only to be lost driving down country lanes with all the windows down, listening to the sound of distant music. Usually there would be a police car parked in some point, then you would know the party was nearby. These parties were held in fields or in farms and could go as far as three days. Spiral Tribe parties were well-known for this and also the Castlemorton Common Festival held in 1992, which went on for five days.
It seems the UK government at the time had had enough of ravers having free parties and enjoying themselves, so ‘they’ passed a bill called The Criminal Justice bill, which became law in 1994. Were one of the laws in this bill that stated “it was ilegal for more than 10 people to be in one place at one time”, so you could be arrested for this. Well... That sort of slowed the free party movement down, but did not end it.
As it was not long before people started doing squat parties in any empty big building. Some of the big ones were the collective parties which were sometimes organized by 30, 40 people, five big sound systems in a big empty mansion playing House, Tecno, Drum And Bass. And lots more on going on, these parties went on from 2 to 3 days and were free to enter. There was also the STonKA party held by Chris Liberator, Julian Liberator and Jerome Hill playing the harder side of tecno.
The Squat Parties went on for a good 22 years untill another law was passed, and you could not go squat anymore. The police came down hard, raiding parties and closing them down or confiscating your sound system. Well, seems the days of the raves, squat parties and good underground clubs are not today in the year 2016. Actually. I think all things were better back then and, as a DJ, I could go through a record shop, listen to ten records and buy them all. Today, I would have to listen to a hundred records to buy ten. It seems quality has gone down the drain as its more about quantity.
I remember reading a magazine with George Harrison saying “Electronic music will be death of music”. I hated him for saying this as I love electronic music but looking back to what he said maybe he had a point. Do I want to go to a club and listen to Rihanna or Beyoncé House mixes, or all this commercial crap? That’s being forced down our throats! Good electronic music was never about this.
Now we have The Economist magazine saying the reason clubs are closing is because People aren’t taking as much Drugs as they used to. I will tell you one thing: People never went to clubs to take drugs, they went to listen to music. Clubs in London are closing due to rising rents, business rates, problems with getting a licence and noise compliants in other words, Gentrification. And this has been going on Far the last 10 years. London is a great city for music and culture. But it is slowly being destroyed by the powers that be.
“Wheres My House?” Um relato da Cena Eletrônica de Londres de 1989 a 2016
“Um relato de dentro da Cena Eletrônica de Londres. De 1989 a 2016, do Chicago House ao Drum’n Bass, da ascensão à queda das Free Raves, mudanças nas Leis inglesas e o cenário Club de hoje”
“… parece que a “Época de Ouro” das Raves, Squat Parties e Clubs Underground de Londres não é hoje, em 2016.”
Era o ano de 1989 quando um amigo meu me perguntou se eu queria ir a uma festa e disse que era de um estilo novo de música, chamado ‘Acid House’. A festa ia rolar num galpão abandonado, antiga sede do Wembley Film Studios.
Nós chegamos na festa lá por meia noite. Três ou quatro seguranças fortões na entrada. Custava vinte libras para entrar, o que era muita grana naquela época. Pagamos a entrada e os seguranças bateram porta. Entramos. Por um momento aquilo foi como um sonho, algo que eu nunca tinha tido contato antes disso. A música tinha uma linha de baixo pulsante e víamos muitas pessoas dançando a vontade. Acho que uns treze minutos depois eu já tinha sido tomado por esse som chamado House um mix de Chicago house e Detroit House. Produzido por artistas como Lil Louis,Fingers Inc.,Frankie Knuckles,Marshall Jefferson eDerrick May.
Esse novo estilo musical logo pegou toda a juventude de Londres e tomou os Clubs da cidade. Em pouco tempo a Inglaterra também passou a ter seus produtores compondo House music com seus próprios estilos. Um dos principais clubs daquela época do final dos anos 80 e início dos anos 90, foram o “Shoom”, fundado por Danny_Rampling e Paul Oakenfold, e tinha também o Hacienda, de Manchester, fundado por Mike Pickering, o Trip Club, aberto por Nicky Holloway e ainda o Astoria Club - em Charing Cross Road. Alguns dos grandes DJs tocaram nestes lugares, só para citar alguns dá pra falar de John Digweed,Dave Angel,Pete Tong,Sasha, Fabio An,Groove Riders,Paul Oakenfold,Carl Cox, enfim, estes eram “Os Caras” que todos queriam ouvir.
Conforme o tempo passou, mais Clubs apareceram... Turnmills Night Club, The End (club), Plastic People, Bagleys Warehouse, The Fridge... Todos estes Clubs integraram um circuito underground onde você podia curtir músicas originais e grandes DJs Produtores. Lá por 1991 esse House music, em Londres, estava mudando para algo que veio a ser o Techno e se juntou a outras influências como Rap, Hardcore, e Progressive House. Todos estes Clubs, infelizmente, estão fechados hoje .
Clássico ônibus inglês tranformado em um trailer, que percorria raves da época
Nessa época as “Free Parties”, ou “Free Raves” - as festas open air gratuitas que popularizaram o acesso a música eletrônica, expandindo vertiginosamente, e caracterizando tudo isso não só como música, mas como um movimento cultural - aconteciam pra cima e pra baixo da “M25 motorway” - a rodovia que circunda Londres. Estes anos ficaram conhecidos como o “Verão do Amor”, algumas famosas festas já aconteceram nesta época como a Raindance e a Biology, mas o que marcou mesmo foram as festas menores, que você ficava sabendo só no boca a boca. Ou alguém te passava o número de telefone, ou você encontrava no canto de um flyer de outra festa - em letras miúdas. Ligando as 9 da noite de sábado uma secretária eletrônica dava a mensagem. “Dirija pela rodovia umas 50 milhas, saia da junção 11, entre na 6, continue reto pela estrada de chão e você vai encontrar uma fazenda. A festa é lá”.
A multidão dança durante Free Rave, 1991
A gente fez isso muitas vezes, vários grupos de Ravers tentando se perder por estradas de chão com as janelas abertas, o vento batendo no rosto e buscando ouvir aquele som da música distante. Quando encontrasse uma polícia estacionada: Você já estava perto. Estas festas rolavam em descampados e fazendas e podiam rolar direto por uns 3 dias ou mais. As festas da Spiral Tribe eram bem conhecidas, assim como o Castlemorton Common Festival, por exemplo - ambas de 1992- por rolarem durante cinco dias.
Bom… com tudo isso acontecendo, ainda mais numa época conturbada - queda da URSS, Guerra do Golfo, enfim - parece que o governo Britânico se encheu daqueles ravers invadindo prédios e fazendas com suas ‘Free Raves” e se divertindo muito, então eles alteraram a Lei do país - The Criminal Justice bill - em 1994, da seguinte forma: “reuniões com mais de 10 pessoas num só lugar serão ilegais a partir de agora”, e então poderiam prender todos. Isso até que segurou um pouco o movimento mas não acabou com ele.
"Eles Querem Lutar, Nós queremos Dançar". Protesto em Londres contra Lei que limitou as famosas "Squat Parties", berço da cultura clubber.
Squat, neste caso, em inglês, quer dizer ocupar. O cidadão vê um imóvel abandonado, entra e ocupa ele. E a polícia não podia retirar o ‘squatter’, apenas a Justiça. Sendo assim, as pessoas estavam invadindo qualquer prédio vazio, ligando um sound system, ou vários, e pronto; Squat Party. Algumas destas festas eram organizadas por coletivos de dezenas de pessoas. Prédios, mansões, tudo tocando House, Tecno e Drum’n Bass. Tinha muita coisa acontecendo e a cena de Londres tava fervendo com festas que gratuitas que duravam dias, como a STonKA , feita pelos DJs Produtores Chris Liberator, Julian Liberator e Jerome Hill, “os caras” do Acid Techno.
As “Squat Parties” funcionaram bem durante bons 22 anos até que outra lei foi aprovada e dificultou tudo, a polícia passou a chegar junto, esvaziar e fechar as festas confiscando o ‘ sound system’ . Bem… parece que a “Época de Ouro” das Raves, Squat Parties e Clubs Underground não é hoje em 2016. Como DJ naquela época eu poderia ir à uma Loja de Discos, ouvir 10 álbuns e comprar todos eles. Hoje eu teria que ouvir 100 para comprar 10. Parece que a ‘qualidade’ se foi pelo ralo e o hoje a ‘quantidade’ predomina
Das antigas eu lembro de ler o George Harrison falando; “A música eletrônica será a morte da música”. Eu odiei ele por isso, afinal eu amo a música eletrônica, mas pensando bem, talvez ele tinha um ponto naquilo. Afinal, eu lá quero ir a um Club pra ouvir algun ‘ House remix’ da Rihanna, Beyoncé ou toda aquela porra comercial? Isso tudo tem sido “forçado guela abaixo”! A boa música eletrônica nunca foi sobre isso.
Os Clubs de Londres estão fechando por que os aluguéis cada vez estão mais exorbitantes, há problemas com licenças e vizinhos reclamando de som alto, isto sim. Em outras palavras é a Gentrificação, e isso tem acontecido em ritmo acelerado nos últimos 10 anos. Londres ainda é uma cidade sensacional para música e cultura mas grandes poderes estão, pouco a pouco, destruindo essa riqueza.
Wheres my house!
{ SPECTRUM nightclub, London 1988 balearic n acid house side B - DJ desconhecido }
