Sharing a nickname with James Bond’s gadget man (and an equally engrossing passion for electronic devices – albeit for the benefit of producing floor destroying breakbeat), Q, aka Uberzone, is about to touch down in Australia for a whirlwind live tour this Easter long weekend. Busier than the proverbial bee, ITM got the lowdown on what Q’s been up to of late.
Over the years you must have witnessed a dramatic change in the way electronic music is perceived and produced. Who, in your mind, are the pioneers that have brought the scene from it’s roots to it’s current state, especially in the breaks scene?
Oooh, tough question… so many political implications! Well, if I start from the current “beaks” movement – not going all the way back to the electro-breaks movement of the eighties, like Kraftwerk, Cybotron, Afrika Bambaataa, etc – I’d say the San Francisco guys like the Hardkiss Brothers, Bassbin Twins and some of the Florida guys like Icey. I don’t want to accidentally omit anybody so this is very difficult. In the UK, Rennie Pilgrem and Adam Freeland have definitely brought the scene to the international masses. As far as producers and the evolution of the sound, Andy Page and Dave Tipper are two guys that have made big contributions to the way the music is produced. The answer is getting kinda long so I’ll stay away from the rest of the electronic scene and just talk breaks!
There has always been a drastic distinction between the US sound and the various European sounds in the house and techno scenes. It seems that breaks transcends these differences, from the Plump DJs to Santos to BT and yourself, the sound is pretty much universally diverse regardless of territorial differences, why do you think this is?
That’s another tough question but it might stem from the fact that breaks, in my opinion, really evolved from electro and early eighties hip-hop, which was a worldwide sensation, whereas the house scene was a much more regional phenomenon. I remember hearing EBM (electronic body music) out of Europe while hearing the soulful sounds of Chicago and New York house simultaneously. I think techno is sort of universally acknowledged as having had a Detroit spawning – again, my perception. The thing is about this type of question is that it would be naive of me to give too much individual credit to any one person or country. Many things can evolve simultaneously in different countries at once; we just might not be privy to it.
Having said that, breaks and house are pretty closely related, what do you think it is that sets the breakbeat genre apart from house, not so much technically, but in terms of energy and vibe?
To me, one of the primary aspects of the house vibe is that it’s more laid back, the energy is kind of a constant buzz, as opposed to the massively dynamic structure of most breaks tracks. House has a different flow, kind of like a train that keeps on chugging, where as breakbeat is a little more like a roller coaster. I’ve been listening to a lot of house lately, been really digging it, especially a lot of the newer electro-house.
You must be witness to the US Government’s concerted attempt to dumb-down the electronic music scene. Despite having been witness to the UK’s attempt, under John Major, to adopt a zero-tolerance policy on drugs, why do you think the US is so down on an electronic scene and why do you think it is failing?
I remember being on a panel at the WMC in 97’ or 98’ and being slightly ostracised for taking an anti-drug point of view. I’ve had that viewpoint my entire career, though, not out of judgment. Basically, I’m a people lover and I want the best for everyone. I write this music because I love it and have dedicated my life to the writing and evolution of electronic music. Even back then I saw the attention that the party aspects of the scene were getting and knew it would eventually be the fly in the ointment. I think all the media attention really accelerated the false perception that the scene was only about partying and it became a self-fulfilling prophecy. Being someone who was so into the music, that was a slap in the face. The music’s always been enough for me and as I’ve learned over the years quite a few other people. The other thing is, most of the new politicians are from the baby-boomer generation and they’re probably trying to correct the mistakes they think they made as youths. The one thing that might have gotten lost, though, is… what about all the other important social changes that were valid? There were civil rights advancements, artistic landslides and the feelings of unity and celebration. Well… some of that’s still happening.
Old people spend a lot of time whinging about the music kids listen to, phrases like “it’s all doof doof doof” are commonplace, what music do you think our kids will be listening to that will make us whinge?
Emo! Juuuust kidding…. Uh, I try to keep an open mind but… let me just say this – I’m not into any music that sounds as though it’s only intention is for the sake of regurgitation, commerciality or monetary gain. If it sounds as though there was artistic intention, I’ll always have as listen.
As someone who’s “made it” in the scene, what is it that keeps you interested and so fresh?
So I’ve made it? Man… no one told me! If I think there’s something that hasn’t been done, more blank paper to scribble on, I’ll stay interested. As far as staying fresh, I guess I’m not really interested in treading familiar ground. Even if I have in the past, the intention was always to try and push forward. I listen to all the new records that come out as a way of figuring out what I don’t want to do. I stand in the middle of the club and think to myself “what do I want to hear that I’m not hearing?”
DJing or production, which do you favour?
Oh, production… by a landslide. This career has brought me out of my shell but I’m, by nature, very shy and introverted.
With the future of dance music now a certainty, what would you say is the most important aspect of the scene that will influence its growth over the next few years?
New blood, creativity, integrity, evolution. We have to be careful not to be so divisive within the different styles (of electronic music) if we’re to evolve. Any creativity is a hybridisation of other previous influences and if we keep such a myopic view of the music it will degenerate rapidly. Seek the path less traveled…
Digital DJing technology, as with all technology, marches on, where do you stand on the laptop DJ? Do you think this now supersedes the friction between CDJs and vinyl?
This applies directly to me because I’ve been doing laptop “Digital Mix” sets since 1998! I’ve been trying this approach to Djing because I feel I can make a greater contribution this way. It’s not quite there yet; people are still confused (I think) as to what you’re actually doing. You could be checking your email for all they know. Until the control surfaces evolve and performers get a grip on the way the set is presented, I think it’s still in for a bit of a hard sell. I’m willing to stick my neck out, though, because it’s more enjoyable and creative for me as a performer. DJing started out this way too; “is that all he’s doing?... playing records?” The art and people’s understanding of it grew and it became an acceptable performance medium. There are just too many creative possibilities for it not to be explored.
What are your plans here in Australia?
To not die! Have you seen my schedule? 3 live shows, 3 nights in a row, in 3 different cities, after flying 15 hours. I’m already exhausted. Seriously, I wish I had time on this tour to relax, I love Australia… definitely one of the most beautiful countries I’ve ever seen, people included.
Don’t miss Uberzone, performing live in Australia this April:
Fri Apr 14 – 33 1/3, Melbourne (BUY TICKETS)
Sat Apr 15 – 360, Sydney (ITM SOLD OUT)
Sun Apr 16 – Innercity, Perth (BUY TICKETS)
