Last week, Hannah Alicia Smith aka Hannah Wants brought forth this resonant specimen of fluttering bass-house, in all it’s British glory. My introduction to this house heroine came through the inclusion of her collaboration with Chris Lorenzo, “Dappy“, on the Dirtybird Records Christmas BBC Radio 1 takeover this past December. Today she released a beautifully chunky edit of The Weeknd‘s “Wicked Games” which will be posted here shortly.
Rader & Upside Down T
Last month, tucked in a backstage nook of Vancouver’s Caprice Night Club, with distractingly gorgeous go-go dancers preparing for their next number, Daniel Pearce AKA Eats Everything and I exchanged words only moments after his impactful opening set for the legend, Pete Tong. We touched on his familial relationship with the Dirtybird crew, the state of his faction of dance music, and the experimental tendencies of his youth.
Low-Life: Who do you trust to give you honest feedback on your tracks?
Eats Everything: I trust Justin Martin, and Barclay Crenshaw (AKA Claude VonStroke), because if they think it’s shit then they’ll tell me, and if they think it’s good, then they’ll tell me; but they won’t beat around the bush. If it’s good it’s good, if it isn’t it isn’t.
“It’s all about how educated the crowd are.”
LL: In an interview with weareblahblahblah.com earlier this year, you talk about how you change up your sets depending on the setting. You said that at Glade Festival [which is held in a field], the attendee’s “dancing outside vibe” is what enables you to play both more obvious big records, as well as more underground ones.
Can you please delve further into the affect that a gig’s setting has on the set you play, as well as the affect that different working environments can have on the music you produce (your new studio vs. on the road)?
EE: Club environments, gig environments, it’s all about how educated the crowd are. Like tonight, the crowd seemed pretty educated. I don’t know how many people knew who I was, but it seemed like quite a lot, and so I played what I wanted to play tonight, whereas I played in Vegas last, and I didn’t play what I wanted to play, and I still cleared the dancefloor. Then you play somewhere like Glade Festival, and that is the most educated crowd out there, and they just fuckin’… all they want to hear is the newest shit goin’, that’s all they wanna know.
And so with production, I can’t work on the road. I don’t like working with the headphones. So I’ll put ideas down, but nothin’ more than that. I just need to be in the studio, I just can’t work with headphones.
I bought a Jambox, you know one of those big Jamboxes?
LL: Yeah, the big Jambox. My dad bought one because he needed to lose a couple years in a day.
EE: (Laughs) they sound shit, they can’t handle any… I was thinking I’d get the big one, but the thing is, some tracks I play out on it, it can’t even handle the kickdrum, like the hertz level is too low, and you just can’t even hear the kickdrum, it’s fuckin’ shit!
“[BBC]‘s playing cool music, and they’re trying to get people into it… because electronic music’s fucking horrendous.”
LL: On the topic of Glade Festival, you were asked during a pre-hype interview (the one where you got a make-over) about the current state of your faction of dance music, and about the dance music scene in general. You responded:
“Factions of dance music are getting meteorically worse, but it’s each to their own at the end of the day, but on the whole I would say that the dance music I’m into is as good as it’s ever been.”
“The future for underground dance music will be helped by the fact that you have these Paris Hiltons, these celebrities, that are starting to DJ (and popularize electronic music). They will take away the masses and let the underground flourish as it is, and let the scene grow and evolve.
These answers particularly hit home for me. I was wondering if you could elaborate on this, slash perhaps touch on the boarders that separate the underground from the mainstream, and those artists such as Disclosure, who even you praise for their ability to ride those fine (or not so fine) lines all the way to total popularity?
EE: Well, it’s weird, because when I said that… how long ago was that, six months ago?
LL: You were actually a fortune teller-
EE: Well aha yeah, because now look at Disclosure, and all these people… it’s amazing how quickly it moves. That was what, June I said that? They’re amazing, and they’re lovely lovely guys, and they’re not selling out.
They’re called Guy and Howard yeah.. and they’re twenty and eighteen, and Guy wants to be a pop-star – he always wanted to be a pop-star, and fair play to him. But they make incredible, very very credible pop music. They’re amazing… really talented. So to elaborate on that… obviously, it’s completely changed since what, in six months, it’s like it couldn’t have changed more.
Because of certain people, [BBC] Radio 1 in England (and throughout the rest of the world) has so much power, and as soon as Chris Moyles left the breakfast show and Nick Grimshaw was put in, literally all the hierarchies moved. So Chris Moyles left, loads of producers left, and then all the younger more cool producers like Becci Abbott who produces Pete [Tong] and Annie [Mac], and then Nick Grimshaw gets the breakfast show, and in the day time, they’re playing Teed, fuckin’… Disclosure, Hot Natured, Jamie Jones, they’re playing it because they love it, and they’re like “this is what you want to be listening to.”
At the end of the day, they’re playing cool music, and they’re trying to get people into it… because electronic music’s fucking horrendous.
LL: This time last year, you were asked by spoonfed.co.uk, if you could throw the perfect party (money no object), who is playing, and where is the party?
Such an amazing answer. If you had the same chance today, who and where would you choose?
EE: Same. Exact same. Have you ever listened to that?
LL: Hell yes I have.
EE: Dimitri From Paris, Night At The Playboy Mansion… just imagine, he recorded that live there, so imagine… imagine being there.
LL: Do you have a physical copy of that?
EE: Yeah, I’ve got a vinyl and CD copy. And the vinyl, it’s got the full-length version of The Originals – Down to Love Town, the full ten and a half minute Dim’s edit, and it’s fukkin’ mint. It’s so good. Just imagine bein’ there, like… swanky as fuck, loads of girls everywhere, it would be amazing.
LL: What is the most over-asked interview question?
EE: Do you eat everything?
LL: You get asked about food all day…
EE: It’s my own fault for choosing this stupid fucking name.. But creative journalism… like this is good. Creative journalism goes a long way.
“[Claude VonStroke]‘s the fuckin’ anti-christ… he just makes you write better music.”
LL: Your most recent Dirtybird release, “Vertigo”, is aptly titled to a condition that seemingly has become a large reality in your more recent life [7-8 years]. Can you explain the affect that this inner ear problem can have on your life as a touring DJ? Also if you could say a few words to those of us who suffer from attention deficit disorders, and how you’ve managed to still be productive and maintain your momentum from day to day?
EE: People assume Vertigo is a fear of heights, but it’s not. It’s actually gotten a lot better. Like, I’m still dizzy all the time, but… this tour I haven’t had vertigo at all.
LL: How’s flying?
EE: Flying’s fine. It’s when I get off the plane normally, that’s the problem. It’s the pressure, and readjusting, and it normally takes me ages. But I think as I get used to touring more, my ears are just getting used to it, so it’s good.
LL: Does it have any affect on your hearing?
EE: I wear earplugs everywhere; in the cinema, in the studio, because my hearing’s fucked. Like if I were in here [backstage] for twenty minutes, when I would leave, my ears would just be ringing uncontrollably.
LL: If the Hunger Games were to actually happen, and Dirtybird had to put forth their top contender, who would it be?
EE: Barclay [Claude VonStroke]. Definitely. He can just go for… I don’t know how he does it. It’s mental. He doesn’t take drugs, and he stays up for three days.
LL: (Laughs) hell yeah…
EE: And everyone else is just like, we’ve been smashing in everything under the sun, and then we’re all like “home time”, forty-eight hours later, and he’s like “you’re all fuckin’ pussies man… you all fucked off.”
LL: In one or two of your interviews, you’ve been asked “what’s your inspiration for this song?”, and you’ve actually answered: “Claude VonStroke”.
EE: Well, he’s not the inspiration… he’s the fuckin’ anti-christ. Says “no” to SO much stuff, that he just makes you write better music. But it’s not really.. I wouldn’t say he’s inspiring, he’s infuriating.
“I still do stupid shit, but no more eating a cactus.”
“A cactus. How can I put this… it was in my home town when I was about 15 and I’d done some acid and I ate a few teabags, some coffee, then a cactus. It was not good; I don’t recommend eating cooking or preparing cactus is any way. It was a really furry one as well…”
EE: It was a really furry one as well! It was fucking horrendous. It was one of those things where you’d just done acid, and you were like… I don’t know if you do acid or if you’ve done it, but when you do acid… things… seem like a good idea. And you’re like – ‘cause the tea was alright, and the coffee was okay, but the fucking cactus. It was one of the full on furry ones, and it was just in my tongue for hours like… in the bathroom mirror, because I was on acid it looked like my tongue was covered in it…
LL: (Laughs)Oh my god… You were then asked if it was anything like a cucumber? First of all, any comments on that hilarious question – “was it anything like a cucumber”?
EE: It was… it couldn’t be anything further from a cucumber. A cucumber is 85% water, with no spikes. A Cactus is made of spikes.
LL: Well, you ended up answering them: “No it was like a fucking spiky… horrible tasting cactus and I got loads of spikes in my tongue, it was horrendous!”
What I want to ask you, is if you’re still at the point in your life, where eating a tea bag here and there is still a possibility, or have you grown out of these experimental ways?
EE: (Laughs) no, depending on how you look at it, I’ve fortunately or unfortunately grown out of it. I’m too old… I’m 33 now. I’m too old to be eating cacti. It’s gone past the point. I still do stupid shit, but no more eating a cactus.
LL: Lastly, Oscar speech time. AKA Shoutouts-
EE: Uhmmm, I’d like to thank Justin Martin, for being… a fuckin’ balding idiot, I’d like to thank Claude VonStroke for being a bearded idiot, I’d like to thank my management for being really good – and a pair of twats, I’d like to thank my wife for being a wonderful, beautiful person, I’d like to thank Pete Tong for being fuckin’ so supportive, and taking me on this tour and just basically making my career what it is. If I didn’t have Pete Tong I wouldn’t be sitting here talking with you yeah? In fact, Pete Tong should be first on that list because he’s a fucking legend. And then I’d like to thank you for the interview.
LL: Man.. unbelievable. We look forward to being in your continent soon. Thank you for your time Dan.
Connect with Eats Everything:
Over the last week or so, the Dirtybird camp has been steadily slipping out individual additions to the second volume of Ghettos and Gardens remixes. Now available for purchase exclusively via Beatport, the gravity of this release is difficult to understate. The list of contributors is but only just shy of unprecedented quality. Dirtybird boss, Claude VonStroke, along side merry men, Eats Everything, Leroy Peppers, Tanner Ross, Shadow Child, Pezzner, Kill Frenzy, LOPAZZ, and Willis Haltom put forth editions that vary from Tech and Deep House to Drum and Bass. All of which, though, provide that driving yet tongue-in-cheek energy we’ve come to expect from what is arguably North America’s leading Dance music imprint.
[Claude and Justin @ Dirtybird Picnic]
Peruse the below previews to determine which, if not all, are worthy of your dollar.
Luckily, some individual appendages of the record have been released in full for your enjoyment.
In lieu of Skream and Disclosure‘s back to back Boiler Room fuckery that took place live from the presidential suite of the W Hotel in London this evening, we bring you this feast of a house tune. Skream flatteringly rinsed “23″ only two days after it’s impactful release to the public. This is the title track off Shadow Child‘s 4 track EP of similarly cultured “peak time” house”, and will be the first release for his new label, Food Music. With a co-founder like Kry Wolf and early support from the likes of Eats Everything, and Mistajam, one should expect big things from this newly formed entity.
Hopefully like us, you enjoy this tune infinitely more than the sluggish crowd seemed to, who were lucky enough to be in attendance in that pillow feather ridden hotel room.
Dirtybird Records continues to showcase its stacked roster with this hour of unabashed funk from 19 year old prodigy Justin Jay. Jam-packed with cuts varying from Justin Martin’s retouches of recent label signee French Fries; Eats Everything‘s Trubble; Julio Bashmore side project Velour‘s The Scent of Romance, and of course a few original tracks from the man behind the controls.
While the mix forgoes halloween classics like The Monster Mash, the beats here are definitely spooky enough to fuel your ghoulish weekend’s festivities.
In anticipation of reaching the 20,000 Facebook ‘like’ mark this weekend, Eats Everything gratuitously releases one of the most requested tracks from his Essential Mix, the unofficially, but aptly titled “20,000 Thank You’s” Rework of Sono’s “Keep Control.”
He’s so much more than welcome.
I know what your thinking; “what is Low-Life doing at a place noted for their unparallelled line-up of “the world’s biggest EDM artists,” (shudder); at what Dimitri Vegas and Like Mike (don’t ask) so eloquently predicted to be “one hell of a crazy weekend;” a place where names like Avicii and David Guetta are spoken with either a religious solemnity or with the volume and duration of one of those travel-sized air horns? Why, Low-Life? Why?”
[case in point...]
Why not? It may be all of those things, but it is also one the world’s largest dance music events, seeing more than 180,000 bodies over the course of the weekend, and besides the main-streamlined artists mentioned above, Tomorrowland is also host to a slew of artists whose names have graced this very URL amidst words of appraisal; Jamie Jones, Clockwork, The Others, Martyn, Jackmaster, Locked Groove, Ben Klock, Terence Fixmer, Green Velvet, Fake Blood, Surkin, Eats Everything, Dubfire, Hatcha, Emalkay, Plastician, and Sgt. Pokes, specifically. Between this, the purported millions of dollars flooded in to the aesthetic experience, and, lastly, the rumour that TL is something of an annual congregation of the most beautiful girls in Europe, why not, I ask you; why the hell not?
So we did.
You know when you’re faced with prospect of eating a bag of Doritos and your like, “nah, I’m not into that,” but you go for it anyway because “what the hell, everyone else is eating them,” and they’re fantastic, and cheesy, and you go for a few more, and your enjoying it even though your constantly making snide remarks about people who eat Doritos on the regular just to divert any possible notion that you do, in fact, love Doritos?… So there you are with the empty bag tilted over your palm to get those last few crumbs and you lick that radiating orange off your pinky finger and, just for a moment or two, you cringe because you know you liked it. Yeah, Tomorrowland was kind of like that bag of Doritos.
For instance, imagine 60,000 people belligerently spouting that incessant “Levels” melody (“da-da-dah-dah-duh-duh du-du-du-du-duh-duh-duh-dah-dah”) while a giant bookcase is breathing fire and tribes of goat-men are doing back flips through waterfalls. Now, this is a spectacle that is hard not to, at the very least, be impressed by. And yes, if you’re putting two and two together, I did see Avicii, and it wasn’t completely insufferable. Well, beer helped.
But aside from the musical lollipop that was the main stage, there was a number of truly phenomenal and accordingly innovative, albeit under-attended performances over the course of the weekend:
Jamie Jones‘ very funky set was laced with nuances of new-wave, which was surprising to most but received with joviality nonetheless.
Carl Cox earned his title of legend, not that he needed to in any respect, as he hit the 1′s and 2′s with care into the wee-hours of his 50th birthday.
The whole experience was truly a dance-music feast. With 16 stages and over 400 Dj’s booked over the weekend, there was a style for every taste. If you don’t like David Guetta, which, if you’re reading this, I can assume that you do not, then you didn’t have to have anything to do with him because on the other side of the Tomorrowland playground, Martyn was mixing a subtle exhibition of We Play House Recordings‘ releases along with his own; two very different worlds co-existing in one fantasy. This label, in fact, has an appropriate and thoughtful contemplation on this subject of taste:
“There is no such thing as tech house, there is no such thing as deep house, there is simply house music, good or bad. And even that depends on the ear of the beholder.”
Bristolian, Daniel Pearce, (aka Eats Everything,) bestowed a delightful gift upon his followers via his Soundcloud this past Thursday, June the 21st. I Still Love Tric Trac is Eat’s Everything’s rendition of Switch’s original, titled, I Still Love You, released through UK-based Dubsided, on September 30th of 2011. Switch is a classic UK house producer, and not to mention, XLR8R’s 2007 artist of the year. Eats Everything draws elements from Jungle and Early Rave music, combines them, then uses this figurative nail-polish overtop of Switch’s solid original, producing an illustrious manicure.
Andrea Martin wailing “I still love you,” is absolutely evocative.
Download | I Still Love Tric Trac [recommended]
See Previously: Introducing | Eats Everything
[Daniel Pearce a.k.a. Eats Everything]
Daniel Pearce (better known as Eats Everything) burst on to the scene of big bass house in the summer of 2011. Although his track “Entrance Song” was his first to gain critical acclaim, it was most definitely not his first. With almost 20 years of experience under his belt, it was about time that he got some love.
Since releasing one of the biggest tunes of that summer (overshadowed only by tracks like Jamie Jones’ smooth remix of Azari & III’s “Hungry for the Power”) he’s been pumping out track after track of pure gold. Considering the impact he’s had in such a short time, we can be expecting many big things in the near future.
Entrance Song, out on Pet Recordings, is EE’s current claim to international success. Go ahead and do your best to keep that head still while this one’s spinning under the needle.
Here are a couple of promotional goodies to satisfy that hungry Itunes library of yours: