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Bermuda and other places doing it. Where do you see yourself in five years? Still spinning? Well, I guess at 60-years of age you can expect to be asked that question. To be honest, as far as DJing, I see myself being more of the elder statesman than spinning, just sharing my experience and knowledge with other rising DJs. That’s how I became the Sunday programmer for the internet radio station, “WFNK All Day.” Spearheaded by DJ Dirtyfiners and DJ Rome in Easton Pa., I joined them and the fourth member of the

Funktion Sound, DJ Dawg, and we pilot an internet radio station that is “DJ-programmed on a radio format.” Together we program, think, hear, and sound differently than the average radio station – terrestrial or internet. Being part of that team has giving me the opportunity to share my knowledge and transition into another phase of DJing… radio programing. You are also a funeral photographer, “helping grieving families celebrate the legacy of their deceased loved one by photographing their home-going services.”

Tell us about that. I know your readers are wondering, “How did we go from DJing to funerals?” [laughs] The truth be told, DJing and photographing funerals are both based on one principle which has been the foundation of my 40 years as an entrepreneur: Seeing a need, filling it, and serving the people. I got into funeral photography because, after I had shot my uncle’s home-going service for my aunt back in 2008, and I presented her with the book I had created from those images, she didn’t remember half

the people in the book being there. So it didn’t take a rocket scientist to realize that if she couldn’t be the only grieving family in that situation after losing a love one. So I started photographing funeral services and creating book to help grieving families remember all the acts of love and compassion people had shown them at their time of need and to help them in their healing process weeks, months, and years to come. And no, it doesn’t help me get DJ gigs – but it has helped transition me into another level of servitude.

M a t r i x a n d F u t u re b o u n d a re known for their drum-sample library, which they’ve amassed over years from old breakbeats, all the way to a snippet snare they might have sampled from a fellow producer’s latest release. They also combine samples, layering and processing them together, bouncing them as one drum hit. Says Matrix, “It’s a constant evolution of sounds being processed and reprocessed and added together and multiplied.” But it’s not just the sounds that are front and center in Matrix and

Futurebound tracks that catch the ear. The two spend a lot of time making subtle, organic sounds that are littered all over their music. These could come from vocal outtakes or bits played on guitar – or from Matrix’s vintage Sequential Circuits Pro One analog synth, then sampled into Native Instruments Kontakt. “Drum-n-bass has always been about the melting of different influences,” says Matrix. “A template of music you can put any ingredient into, twist it up, give it your own stamp and out the other side. We try and

do as much of that as possible in our production. “When making music, it’s always a struggle to do your own thing,” he continues. “To not worry about what people are going to think of it, how it will perform, and where it will fit in is a daily battle. I personally always try and get in the same mindset I had from Day 1, which is being in a room on your own making music that makes you feel happy about what you’re doing.” – Lily Moayeri n

but it never really works out. I kind of like to make my favorite music without thinking about what it can be. DJ Times: Where do you find inspiration when it comes to production? Ridha: It’s always been the sound that inspires me. It could be my drum machine running through a new pedal or a new module or a new plug-in. I build on sound. Sound is even more important than writing a song or lyrics

or melody even. DJ Times: In the studio, is it important not get bogged down by a single element, be it a kick drum or the hook? Ridha: I never learned sound engineering or proper studio engineering, so my ear always tells me what’s good and what’s not good. A lot of times I’ll make a track, I’ll test it out and that’s one of the realest

moments because the reaction is pure. I just go with the flow and then I mix and arrange and do all of that at the same time. But I try not to be too much about it – “This is the kick drum now” – because I do create my own kick drums and my own sounds. You might call it lazy, but I’m just cool with whatever I recorded [laughs] and too lazy to recreate it or try to find a better sound. n

Matrix & Futurebound

(continued from page 12) “Whose chopper is this?” use the best take as the lead, and “Zed’s.” edit the remaining, which could be as “Who’s Zed?” many as 15, trying to match the timing“Zed’s of thedead, lead. baby, Zed’s dead.” Now for isallreally film buffs there, “Matrix good out at getting you may remember this sequence the vocal to sound natural, and he’s from Quentin Tarantino’s classic ultra-fast,” says Futurebound. “I “Pulp can’t Fiction.” But,itfor our purposes, we restand doing because it’s too fidgety. fer to working this quote an introduction to I like onasbeats. I have prepaone of the biggest names in the world ration sessions, then when I go into a of bass to music. studio write a track, I have beats Zedson Dead didn’t conquer I’veNo, worked before and grab what right away – it took awhile. Like many works. That comes in really handy DJ/producers the top of the when you are at feeling the vibe of EDM congame, theya achieved structing track.” incrementally until they became recognized as genuine

Boys Noize

(continued from page 17) sion, do you ever do go into aiming to create a festival weapon or clubready track? Ridha: Good question! Usually, I try to make records that I can play and, when I make music, I try not to do the stuff that I buy or play because there’s no reason in making something that sounds like someone else made it… Sometimes I have a clear idea. I want to do club track or something,

Jamaica Frenzy: Home for House No place for house music, right?

You’d be surprised.

DJ TIMES

SPRING 2019

Jamaica, mon… home of reggae.

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Jamaica Frenzy Fest, in the next DJ Times

Profile for DJ Times Magazine

DJ Times Spring 2019, Vol 32 No 3