Now up to the third installment in his celebrated ‘Transitions’ series, John Digweed has remarked that he was aiming squarely for a “peak time” sound on his latest CD. It’s something he’s been building up to over volumes 1 and 2, and although that may infer he’s in fact reached the end of the line with the ‘Transitions’ series, as he explains to ITM it’s nowhere near being finished just yet.
The Transitions series is now into its third installment and having listened to it a number of times over the past week or so, firstly I’d like to say congratulations on a job well done. You’ve included a massive 20 tracks in this mix, with less time between mixes and some very clever layering. The 25-minute bonus disc aside, did you ever consider leaving longer between the mixing of the tracks, adding a few more tracks and expanding the mix into a two CD affair?
No, not at all. I think it’s been well documented that I wanted to create that ‘peak time’ experience with this mix. I was after that atmosphere and intensity you get in a club or festival at 3 or 4am, but thumping sound-systems and 2,000 clubbers are a totally different environment; to recreate it on a CD – which will be listened to on domestic stereo systems – meant I had to take a slightly different approach. In this case it became a conscious 20 tunes, exclusively editing each for the mix.
If 20 tracks made the final cut, how many tracks failed to make it that you really wanted to include?
I don’t think it’s fair to highlight those that didn’t quite make it because it’s no reflection on those records, there’s loads I’d love to have included but [they] didn’t quite work in the context of the mix. What I can tell you is that it’s a lengthy process, approximately 4 months from start to finish all told. I try to blend undiscovered gems with present favourites and upfront material I am playing at the time. I recall on the first album we described it as a ‘current snapshot’, and I don’t think we’ve yet found a more accurate or succinct way of describing it.
You’ve stated that this mix is representative of what you’re currently playing during the peak time of your set, does that mean that it’s the final in the Transitions series? If not, do you have a clear idea of which direction you wish to go should there be a Transitions 4?
Musically the series has represented a development; I’ve been shifting through the gears over the series, working toward my peak-time sound, picking things up a little with each volume. There is going to be a Vol.4, though I am not sure what we’re going to do with it – if I carry on like this I’ll be giving Coxy a run for his money!
Your latest collaboration with Nick Muir has spawned an epic 25-minute track called ‘Gridlock’. Cass once told me that when he worked with Peter Martin, that he (Cass) would have an “idea” for a track, and Pete would fine-tune and do all the hard yards. How do you arrive at the decision to create a new Bedrock track and who has what input into it?
Nick lives about an hour away from me, so when we go into the studio we try to ensure we have a few ideas firmly cemented before we begin. The combination of our schedules makes it difficult to find the time and it’s important we maximise the opportunity. However, once underway, there’s also a degree of natural development and ‘Gridlock’ is perhaps a classic example; we began work and it grew to a whopping 25 minutes, which is why we hit upon the idea of setting it to exclusive, unseen footage I had from a Mayan show in LA, and releasing it as bonus disc (CD-rom) with the album. We soon realised it would be a shame to only profile the extended album mix, so Nick and I then had to go back into the studio to lay down two new, shorter versions more suited to clubs for a specific, single release [available on vinyl and digital now]. I road-tested one of the mixes throughout my recent American tour and it was very rewarding to get such a great reaction from a crowd who didn’t yet know the track, let alone the fact it’s my latest offering.
Over the years your style has evolved – as has the genre itself – on a number of occasions. With each change, do you ever have doubts about how your fans will react to a new direction in which you decide to go?
All DJs evolve their sound, how boring would it be if you played the same thing over and over for years? But, whilst I admit my style has shifted, I don’t think the genre or the overall impression has. One of the things I am most happy with on Transitions 3 is how it draws on that current, European movement, but as a complete piece it’s distinctly – without wishing to resort to the third person – ‘John Digweed’.
How do these changes come about; is it a case of you following certain production trends as a DJ, or do you make a conscious decision to start exploring different aspects of music?
No, it’s not conscious. As with most DJs I know it’s a very personal reaction and process. I kind of touched on this [before] – I may play the same records as other DJs, but the way I approach and programme it changes the context entirely, which to be fair is also true of those other DJs playing said record. Music doesn’t change overnight, either, it’s more of a subtle shift. So even if I wanted to, I think it would be very difficult to make a sudden change in style; I do love deep house music in all its subtle shades and I always will. Plus, you have to catch the balance: yes, you want to move forward as an artist, but in equal measure you know fans and clubbers turn-up expecting you to deliver and provide some form of familiarity. I guess you could describe it as forward-thinking consistency, which is a near contradiction in terms, but playing-out aside, remains one of the most challenging and rewarding elements of DJing.
Keeping an eye to the future, where do you see yourself in 5, 10 or 20 years time? Do you have visions of being electronic music’s answer to Keith Richards and still being out there performing when you’re 60 – although hopefully in better condition than Keef – or will you be retreating into more behind the scene work?
I don’t know about that, but you never know. Nick Muir and I have a couple of soundtracks under our belt now and I think that could become an interesting path to explore, as would an artist album – some form of production with Nick will almost certainly remain. Don’t get me wrong, I love my career, but the travel, odd-hours and clubs do take their toll. There will come a time when I will have to call it a day… but don’t worry, that is a long way off!
Living in the Brighton area of England, are you a fan of Brighton and Hove Albion [soccer club]? Should the club get into financial difficulties in the future, do you see yourself “doing an Elton” and buying the club?
I still live in the South East, but not so close to Brighton these days. I love my footie, but I’ll leave the club thing to Elton and – in the case of Brighton – Norman Cook. I think his record label Skint sponsor the team, they certainly did a few years ago.
Electronic music is obviously a huge part of your life, but what do you do away from electronic music and are there any interests that you can see yourself getting involved with in the future?
Well, I have so little time I have to be very selective about outside interests and pastimes and try to maximise what’s available. I love mountain-biking, cooking and eating out, which is a great relationship – I burn off some calories and then go out and put them all back on! In all seriousness, my point here is I guess a restaurant or gastro-pub would be interesting. However, I have friends involved in the industry at Michelin level who are always putting in a LOT of hours, plus never miss a trick to tell amusing, yet terrifying stories. Armed with this insight I’d be mad to get involved, but you never know…
2007 is almost over. What has been your highlight of the year so far and why?
Firstly, I’ve got to thank the fans, all my gigs are so good it’s hard to pick them apart, which is more of a testament to them than anything else, but it does therefore mean selecting a highlight is difficult. I think it’s probably the current success of ‘Gridlock’. We’re getting stellar responses on it; top 5 and rising in the Balance and Buzz charts; ‘Tune of the Issue’ in I-DJ and even ‘Essential New Tune’ from Tong on Radio 1. Doing a compilation is great, but there’s no getting round the fact you’re playing someone else’s music. To put an original composition out there, which is entirely your own, and then get such a positive reaction is very rewarding.
‘Transitions Vol 3’, mixed by John Digweed, is out now through Renaissance/Stomp.
Check this video of Digweed dropping ‘Gridlock’ at the Warehouse Project in Manchester earlier this month:
Grant says...
Good one Lamb! :)
Kaazza says...
Cranking baby!!! Luv it... wish I was there :)
Rick_W says...
Just saw Digweed on Tuesday in Osaka. Great show! James Mowbray