Earlier in his career, Meat Katie aka Mark Pember was known as one of breakbeat’s most successful (and edgy) supporters – but as he explains, he’s “a DJ that plays breaks, rather than a breakbeat DJ”. The term ‘tech funk’ always more aptly summed up what he was about – a solid and seamless fusion of breaks, tech, electro, progressive and everything else that’s interesting (and edgy) in dance music.
With a massive assortment of productions and remixes to his name as well as five mix CDs and three artist albums, 2007 has seen his pushing full steam ahead with his own lot49 record label which has music on the way from Elite Force, Lee Coombs, Dylan Rhymes and more. One the eve of his return to Australia, ITM’s Angus Paterson talks to Mark to about his approach to DJing, what else he’s got coming up from his record label and how in spite of what people might say, he still likes breaks!
Hi Mark, this is Angus from inthemix in Australia. How’s it going, and how has 2007 been for you so far?
Hi Angus, yes I’m very well thankyou. I’m currently in Florida on a tour of the USA and it sure beats rainy London! 2007 has been a crazy year, and its still not over.
A lot of DJs hate being asked genre questions, so let’s get this one out of the way. You’ve always played broadly as a tech-funk DJ, but you’ve still branched out a lot from what used to be a breaks-heavy sound in the last 2 years or so. You clearly don’t want to be pigeonholed, but would you agree this is also a reflection of the fact that breaks just weren’t doing it for you as much anymore?
It’s a bit of a myth that I don’t like breaks anymore, I do, but I like lots of different styles and sounds, I’ve always seen myself as a DJ that plays breaks, rather than a breakbeat DJ. I must admit I have been struggling to find solid breakbeat stuff that does not sound dated, but in the same breath, artists such as Mathew Johnson, Herve, Sinden, Crookers, Yusek and many of the lot49 artists have been releasing tracks that have breakbeat elements, and that has been filling the breakbeat void for me. I can’t just play a breaks track just for the sake of it, it must be a killer.
On that topic, after seeing you play last year in Sydney I was struck by all the different musical styles you combined in your set – tech, electro, minimal, breaks etc – but you definitely bring them together as fluidly as any other DJ out there. What’s the secret to this?
It’s probably not a secret, but I genuinely love the tracks I’m playing, regardless of genre; in my mind they make complete sense going together, so it’s more of a vibe thing and getting a flow on and people trusting your taste. I don’t think you can master it either, as you are always finding new tracks to play and wanting to inject new ideas. I find it a challenge and it keeps me on my toes as a DJ.
Looking at breaks specifically, the genre has been in a bit of a slump over the last year or two but a few DJs/producers I’ve been talking to reckon it’s making a bit of a comeback: the good tunes are coming through again. Would you agree with this?
Music goes in cycles and breakbeat is still a well-established genre, so I’m sure it will have its time again. Saying it’s making a comeback might be a bit premature, but I know a few producers (including myself), whose new productions are very breaks-heavy, but this may take a little time to reach the record buyers/clubbers.
Back earlier in the decade your profile was mostly due to your production more than anything else, but you’ve definitely come forward leaps and bounds as a DJ since then. What did you do to nail the craft?
I practiced loads and didn’t want to be mediocre. I’ve tried my best to compete with my favourite DJs – I’m not quite there yet, but I’m working on it all the time. Maybe in another 10 years I will crack it!
The last compilation we saw from you was the lot49 album that came out earlier this year. It really was a hard hitting CD, some really heavy sounds on there. Was that a reflection of where you’re at musically at the moment?
Yes I think so. Because it was a single CD mix, I thought I’d just go in there and put a mix down that really represented my current sets; it’s a big tougher than normal, but it still has the funk and is a bit more dirty and in-you-face than some of my previous comps.
What about your lot49 label, how are things rolling along with that in 2007 and what stuff have you got planned coming up?
The label is flying right now. We are just releasing 30HZ’s Electric Sheep album, which has been getting some great responses. The single Daddio features Yolanda (I’ve always loved her voice, so I’m chuffed about having her on a lot49 record), as well as mixes from Miles Dyson, Trevor Loveys and Klaus Hill. We also are releasing mix comps from Elite Force (which is the next one), and Lee Coombs who is also working on an artist album for us, and we have Dylan Rhymes and Vandal albums which will be released the first part of next year too. We have a ton of 12’s and remixes lined up too, with acts like Blende, Jono Fernandez, Rogue Element, Baobinga as well as Koma & Bones. Phew! Keep an eye on www.lot49.co.uk to keep updated. We release a lot of music.
You’ve released some tasty mix CDs in the past. What do you think goes into putting together a good compilation, is it a similar discipline to playing a club set?
I can’t talk for anyone else, but I try to keep mine honest and a true reflection of how I play. You tend to have a bit more scope when it’s a double CD, but single CD mix albums show people what you’re all about.
What’s going on with you production wise at the moment?
I’ve just finished a remix for a US electro/rock band called Shiny Toy Guns, and also another for Passenger’s new signing The Body Snatchers. I’ve also started putting ideas together for my next album, but I’ve been touring really heavily of late, so it’s been hard as I’m not great a writing on my laptop, so they’re more like sketches. I will get stuck into it when I’m back home after the Australian Tour.
You’ve got a musical history with funk, soul and jazz, as well as playing as a bass player in bands. What does this background bring to your career as a dance producer?
It certainly helps knowing how the keys work. As a DJ I feel key clashes are just as bad as a train wreak , but having a few skills as a musician has helped me in the studio more than anything. I’ve taught myself how to play instruments, use the studio equipment and DJ, so it’s not like you have to have training – rather you can teach yourself. It’s amazing what you can pick up from learning how to play the piano or guitar, it certainly make you appreciate other styles of music.
Considering that history that you have with live music, how would you respond to the accusation that club music has less substance than rock or acoustic music?
Rubbish. Music is a personal thing, ‘substance’ should not even come into it.
Finally, you’ll be back in Australia at the end of the year. Are you looking forward to your sets, and what can we expect musically?
Am I looking forward to Australia? I can’t wait! On a musical front, wait and see, but I can tell you I have one intention, and that’s to tear the roof off!
Catch Meat Katie on his upcoming tour of Australia at…
Sat Dec 1st – Stereosonic, Melbourne
Sat Dec 1st – Mojo West, Adelaide
Wed Dec 5th – Halo, Hobart
Fri Dec 7th – Ambar, Perth
Sat Dec 8th – Oceans 30 Festival, Gold Coast
Sat Dec 8th – Chinese Laundry, Sydney (w/ Jono Fernandez)
Fri Dec 14th – Brown Alley, Melbourne (w/ Lee Coombs & Jono Fernandez)
Sat Dec 15th – Step Inn, Brisbane (w/ Lee Coombs & Jono Fernandez)
