For an entire generation of dance music enthusiasts, the name John Digweed is as familiar as the name Pelé is to soccer fans, or as Michael Schumacher is to followers of auto racing. In a field where many so-called “superstars” rise and fall within the span of a decade, Digweed – like his aforementioned peers on the soccer pitch or racetrack – stands as one of the industry’s most enduring figures, with more than a quarter century’s experience behind the decks. Never one to follow a trend, John Digweed is noted for playing the records that everyone else will be playing six months to a year later. On top of his busy touring schedule, his ongoing involvement with his standard setting record label Bedrock Records and his weekly radio show on popular UK radio station KISS 100, John has just released his most recent mix compilation, Transitions. He took a few minutes out of his busy schedule to catch up with ITM and tell us more.
“There’s probably a suitable cliché about leaders and followers I could start with, I suppose, but really I think I’ve just searched out unique records,” John says, and from the very outset of our conversation his legendary humility shines through. Our conversation has started with a discussion about just how well he has been able to stay at the very forefront of the electronic music scene after so many years at the helm, and about where his motivations to keep pushing the envelope and adapting his style come from. Here John spells it out. “As a DJ, the records you choose must have longevity, and they must be presented properly. You can’t just throw together the biggest records one after another if you’re hoping to attract the audience that I’m trying attract.”
I ask John to explain just what sort of audience he has, and how their expectations shape his sound. “I have a base that searches out something different, and they know what to expect from me – tracks that have legs. I’ve been playing clubs for so many years, but the crowd always seems to stay the same age. However much you’d like to think your fan base comes with you – and to a certain extent some do, I mean I still get emails from people that have been following me since my very beginning – the fact is that the crowd is constantly updated. I think that’s what keeps the scene on its toes.” So what, then, of clubland’s more experienced brethren? “Well,” John says with a laugh, “if it was the entirely the same people that we saw out there ten years ago, there’d be a lot of jaded old f—-ers out there!”
We talk some more about set construction, and I ask John about how he plans the track selection for a compilation such as Transitions. “To me, playing the right record at the right time is everything – and I like to think that I’m the sort of DJ that gets in to your head,” he explains. “You won’t be blown away by the first record you hear me play – but give me three or four, and then I’ll get to you.” “Also,” he adds, “the way the mix is put together is crucial, in terms of the edits and changes that I make to a track as I go along. The tracks you hear in my mixes aren’t necessarily the way you’d get them from your local record shop. The changes can be subtle, and you might not hear them the first time, but they’re there.”
We discuss the thinking behind Transitions some more, and John explains how he sees this compilation as the first in what he intends to be a series of compilation CDs, released on a regular basis, under the same name. “I’d like to use the Transitions series as a bit of a ‘here’s where I am now’ series – a real snapshot of where I am musically at that particular point. This particular CD, you’ll notice, is very moody, has a very German feel to it, and is influenced by the sounds coming out of Germany right now,” he says. “But,” he continues with a chuckle, “the next one could well be very different. In terms of sound, I think it’s very fresh sounding, but if you’re a fan of mine you’ll still recognise it. It’s got that dark melodic feel to it, you know, the sort of songs that I’d hope when you hear them you’d say ‘hey, now that’s something John would play!’. It might be a bit different if you listen closely, but it’s not like I’ve moved a million miles away from my normal sound. It’s just, well, different.”
Recalling Hernan Cattaneo’s recent comments to ITM regarding the explosion in popularity that German dance music has enjoyed, I ask John his thoughts on the matter. “I’ve always been a fan of the music coming out of Germany, but it’s just that it’s become more prominent now,” he explains. “It’s one of those eras where Berlin seems to be a melting pot of talent right now – like Detroit when techno came out, the buzz of talent is there, and creativity spawns more creativity. The Germans are taking house music and putting really good sounds into it, different and quirky, really making it clever.”
Noting the extent to which his long-time collaborative partner Sasha has embraced new technologies such as Ableton Live, I ask John where he stands on the issue of using alternative technologies in the DJ booth. “At the end of the day, its what comes out of the speakers that people should judge a DJ on,” John explains. “If a DJ is rocking it, it doesn’t matter if they’re using vinyl, CDs, Ableton Live, or anything else, just as long as they play good music. That’s always been the key thing.”
As we wrap our conversation up, I ask John about what it’s been like to have spent so much of his professional career in the spotlight, and the extent to which his behaviour both at work and at play is influenced by the constant media attention. Here, John’s quiet wisdom and experience shows through. “I just do my own thing, really,” he says. “You can’t worry about wrapping yourself up in every little thing that gets said or printed about you if you want to last very long. My take on music is seen as quite serious, and I’m not really a showboater, but it’s really just me doing my own thing.” “Of course,” he quickly adds with a hint of a smile, “that’s probably why I’ve thrown in the odd crowdsurfing adventure now and then – it throws the press a curveball, and I think it’s good to keep them on their toes!”
Renaissance pres. Transitions, mixed by John Digweed, is out now through Renaissance/Stomp.
Angelo Ristos says...
Ah yes profound words by diggers, but so true, keeping his fans and music alive, what a meek individual-his decade long success has proven this, I do agree with your comments that he does have the stature of Pele to soccer fans, his musical talents have kept a generation of young adults on the edge of their seats.I believe he has set a precedent in his field,he is first and foremost to me a Musician then a DJ,I will be eternally grateful to him in providing that piece of life that I find in his music, truely John Digweed the iconic figure of modern electronica.
SCST says...
Im listening to transitions right now...I recemend it..