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Alt 30.06.2004, 09:35   #1
hustlin l.
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Exclamation Teebee Interview

Transcript of Teebee Interview with Will Jackson for Zebra Magazine 30 June 2004

Will: Hello, uh, Teebee?

Teebee: Speaking.

W: My name’s Will Jackson, I’m calling from Melbourne. Ah, to do an interview for Zebra Magazine.

T: That’s cool.

W: You up for it?

T: Yeah man, definitely. I already got the message about an hour ago. So I was kind of waiting for you to call.

W: Sweet as man. Um, I’ve done a few of these interviews and I generally just ask some random questions and all that sort of shit, and I thought I’d start off by asking if there was anything that you wanted to talk about.

T: Well, um, I’d like to talk about my upcoming album, just in general my work in relation to Photek and what’s going on with my label over the next sort of year or so.

W: Well cool, that’s pretty much what I was going to ask you anyway. Just to sort of set the scene for my readers, can I ask where you’re at and what you’re up to at the moment?

T: At the moment I’m in Norway. I’m having a week holiday doing nothing but a remix and playing immense amounts of Playstation, that’s what I’ve been doing.

W: What’s your favourite Playstation game?

T: I’m actually playing… You know the European Cup Soccer is on at the moment, so I’m playing Euro 2004. Just between the matches, that’s all I do. So that’s pretty much it. I’m having a week off. I just came off a big tour and it’s just I need a little break, as you all know I’m heading out to Australia in a minute.

W: Where were you touring before this break?

T: I had about fourteen gigs in sixteen days in the States and then I went back to Europe and did four shows in and around London and then another week just all over Europe and then I got back here, so it’s pretty much five weeks without any rest so it’s good just to get the legs up and stretch out for a bit.

W: So you’re obviously still based in Norway then?

T: Well, I’m kind of based in Norway and London and LA depending what I’m doin’ and where I’m at. I mean, I tend to spend a lot of time in LA at the moment ‘cause that’s where Photek lives. We’re working together at the moment trying to sort out a few things and so I’m spending quite a bit of time there, I’d say about as much as a fifth of the year with him in LA and then about two-fifths in England, and two-fifths in Norway. So it’s kind of a never ending cycle you know, and I’m not a creature of habit as well, so if I stay in one place for too long I tend to get really restless. But this is where my prime studio is, the kind of studio that I built from scratch is still in Norway. I’ve got a tiny setup in London and Photek’s obviously in LA.

W: How’s preparations for the album going?

T: It’s good. The album’s finished, vinyl-wise it got mastered yesterday, and it looks like a release date in September for the world. I’m trying to sort out distribution for Australia, as well, but it looks like it’s only going to be on import at the moment. But you never know. The vinyl is going to be a four-piece with what I consider the eight strongest tracks on the album. Liquid Light’s on there that I pulled back from Prototype. There’s some really big tunes on there that a lot of people have been playing, so I’ve got hopes for it, I reckon it’s my best album so far, so we’ll see what people think. And as far as the CD version goes there will be two different editions, there’s going to be one edition for Europe, a double CD with CD one ten tracks the original album tracks and CD two’s going to be like me mixing up my best twelve inches from the last two years. And for America and Asia, there’s gonna be another edition where Photek’s gonna be the executive producer binding the tracks together and CD two’s gonna be an exclusive mix of pure unreleased Teebee and Photek stuff.

W: When you’re making an album, do you have a concept in mind? How do you approach it?

T: I normally do, but not this time. This time basically what I did I just did tracks that I liked, and went in a little bit deeper than I have on any of my albums as far as production goes. I’ve gone really deep into every track, trying to make every element as good as I can and try and take the whole production standard of drum ‘n’ bass to the level that I believe that it should be at, where it maybe was a couple of years ago. Things have dumbed-down drastically like in the last couple of years, with even some of the major players not even paying attention and it sounds like they’re just knocking out beats in fifteen minutes. Because drum ‘n’ bass in like ninety-six to like ninety-eight was considered to be like the most cutting edge advanced music form in the world. I mean, advanced in every shape and form in the world aint necessarily what’s right, but I’d like to see a certain challenge in my music and so instead of moaning about it I’m trying to do something about it.

W: Cool. Just going back a bit, with Through the Eyes of a Scorpion, just for personal interest, listening to it and some of the lyrics on the tracks, to be honest it sounded like a breakup album…

T: Oh, oh really? You know what? In a way, you’re right. I went through a… that’s weird, that’s funny, ‘cause no one’s ever like actually like mentioned that… I went through not one but a series of breakups during that album, and I actually made most of the tracks just being f**k angry but the paradox of it all was that I was angry for getting caught, know what I mean? So it wasn’t really… yeah, like the album had some heartache, and I went through some bad moments, but at the end of the day, like the tracks are like me being talked to. And it’s like me being put in my place and I’m kind of mocking that in the most disturbing form. I’ve had some comments from some of the girls involved, in that time, and they’re like: “Oh my f**k god, you are such a dick. Like, not even are you doing this, you’re rubbing it into our faces afterwards.” Yeah, I’ve matured a bit since that tho, I’ve understood that the world is not as forgiving as I want it to be and I should be a bit more forgiving as well and try not to step so hard on other people’s toes because at the end of the day it’s going to come back at you man. Yeah, I’ve learned it the hard way. So I’m trying to stay fairly on point.

W: What do you mean you’ve learnt the hard way? Can you give us an example?

T: Well, I’ve learned the hard way basically, like being caught playing several play fields at one time is never a good thing and it’s morally wrong but I honestly believe it’s not in man’s nature to be completely faithful. And I’m not saying that as a joke, I’m saying that as I honestly do believe that it is not. And I’m seriously trying to and it’s looking a lot better at the moment.

W: Was there a conscious like, for that and like Black Science Labs, did you have a concept going into those?

T: Black Science Labs was basically, because me and K, Polar, did an album before Black Science Labs called Black Science. But Black Science Labs was the name of my old studio and basically Black Science Labs was kind of my statement to the world, because it was my first artist album, and it was what was eventually to break me out overseas and kind of bring me into the international market. I just wanted to flex on that album. Show technicality, because I was still musically not up to my point on that album, I was still trying to find myself but technically I knew I was already on point. So I basically um… hold on, someone’s ringing on the doorbell. One moment. Ahlo? Cominen. That was just my sister comin’ in. Ah, but technically I was on point. So that’s kind of why I made it as a sci fi experiment to be taken as an audio journey rather than as a big musical project. Because if you listen back to the album, the album’s really cold. There is a couple of musical pieces on there, but in general it’s all about, how can you f**k up these drums? And, check out how I do my fills and there’s no way you can make your strings dive like this, sort of thing. So at the moment, I’d say I’ve mellowed down a lot the last three years and back then for me it was a lot about competition in general, just competition about, just a sec… [something in Norwegian] …it was just competition for me. Drum ‘n’ bass was just a massive competition of who can draw sound basically. I mean, I want it to be like this today as well because during that time, that was the time I learned the most that was the time I was most on point, I wouldn’t slack with anything, I’d make sure every little thing was perfect while now some of the old heroes, like the old stars of drum ‘n’ bass, it seems like they’ve lost all their substance and kind of a lot of the weight that was carrying the scene. And that is why things have gone a little bit sideways the last couple of years. So in a way this big jump up, kind of clowny revolution has been great for my side as a massive welcome because it’s brought people back into drum ‘n’ bass and if you still keep to your guns and show them that’s there’s something else out there you might convert one third of them to what you believe in.

W: So Photek. Working with him… how did you hook up with Photek?

T: He got in touch with me. And actually Rico, which is the label manager at SRD which is one of the biggest independent distributors of vinyl to the whole world, basically set up a meeting with me in London and he basically told me that it’s in your best interests to be at that meeting, but he didn’t tell me who I was meeting. So I flew to London, I was really anxious wondering if I’d done something wrong to someone, and then I’m sitting there and Photek’s walking up the stairs with a bright smile on his face and I’m like, oh he didn’t, and he asked me there man cause he’s heard loads of my tunes, cause I was going to do an album with Moving Shadow, and he basically said, I’ve heard all your tunes, they’re f**k amazing I want you on Photek. And like, Photek was one of the people that brought my attention to technically advanced engineering and he was the don in making something that’s really hard to do extremely minimal and easily approachable and for me it was an honour, I mean, yeah man, I’m on the team. And just for me to have someone that was my mentor come to me and tell me that “You know what, I think I’m gonna ally with you because I don’t wanna fight you” to me was a big honour and I’m eternally grateful for that. Things have worked out really well. The album unfortunately didn’t come on Photek as planned because there was financial issues with my publisher that I had to sort out but still I’ve licensed it to him for the American and Asian version and as we’re speaking we’re trying to get a joint artist album done. So yeah, that’s probably gonna be something hopefully done by next year.

W: How has working with him affected your production?

T: It hasn’t really affected me tremendously because once you know studio engineering and once you know how to make a drum break sound snappy or how to make bassline breathe, you’ve pretty much cracked it. I mean, there’s a million ways of doing things, and obviously I’ve learned shortcuts on things that would have taken four or five hours, he’s got broken down to like half an hour but then again there’s things I do that he don’t even know how to do, and he’ll be like: “oh, ok…” So it’s a win-win situation for both of us. Obviously his experience within movies and other genres of music and his contact network and general experience has been a tremendous help to me not just that but like he’s a really wise person, he’s older than me – I’m 28 and he’s 33 – so he’s got an extra five years in the limelight on me and plus he’s worked with all the big ones, he’s worked with Bowie and Bjork. It’s good to have someone that knows the guidelines and knows the bullshit of the real business which we’re about to enter into. Because we’re doing loads of things for movies at the moment and the hip hop market as well, we’ve got loads of projects going on there but at the end of the day it’s drum ‘n’ bass where we’re at and we’re kind of on a mission just to bring it back to its purest and most advanced form. So, I know we’ve got Goldie on the team and there’s a few of us not quite happy about how things have been going down the last year and what kind of music’s been coming out so we kinda want to show the world that we’re still here and we’re firing on all cylinders.

W: I read in you’re bio you once said “It’s time to f**k up the rule books”. What did you mean by that?

T: There is no rules man. And whoever wrote the rules needs to go scrap ‘em. The reason I do drum ‘n’ bass is because there is no rules and somewhere along the lines someone wrote a rule book: you gotta have something that definitely works in the club, amen, you gotta make sure the intro of your track’s mixable, you gotta make em predictable otherwise other DJs won’t play it unless it’s like this and this and this. That is bullshit. Them DJs need to step their game up a little bit. Because music to me has always been an adventure and should be an adventure and the moment you create everything so structured it’s mathematically correct every single time it gets boring because you can only take two plus two so many times before you know it by heart you know. So just in general like making things that people react to, like making sounds that people don’t know how I’ve done them or stay away from the obvious soft synths or the obvious breaks and all that, just trying to be a little bit kind of, create an identity for myself rather than just walking on a path that a million people have been tramping on.

W: What’s happening with Subtitles at the moment?

T: Subtitles has been going really well. We’ve signed loads of new artists on there. I’ve got Chris.SU from Hungary, he’s done me a twelve, I’ve got new boys Fracture and Neptune from London amazing kind of avant guarde breakbeat scientists are doing twelves. I mean Subtitles is stepping up the game because we’ve been in the game for so long now that I have sort of established artists willing to have me go first in on their tracks. Subtitles has been like a statement and marker of quality regardless of whether it’s the most mellow tunes or the hardest tunes we’ve been there for years now and people are acknowledging that. So I’ve also got a Silent Witness twelve, I’ve got remixes coming in from Cause for Concern and Total Science and Stakka and Skynet and Photek and it’s just going to be a good year, I’ve pretty much got the next fifteen releases lined up. So I’m really happy about that, and we’ve just got a deal with this company called Future Tracks so everything’s going to be available as digital distribution, like .mp3 downloads.

W: Is that similar to Beatport?

T: I don’t know about Beatport, but it’s pretty much like an ITunes version for electronic music. And hopefully we’ll have a deal with ITunes as well before the end of the year, we’re trying to work that out at the moment.

W: I think Violence has got together with ITunes.

T: Yeah, Hive’s a very smart man and a wicked producer as well. So, he’s always on the forefront man.

W: I have to ask you, because he’s one of mates’ favourite artists, what do you think of Phace?

T: Phace? What the German? I f**k LOVE him man. I love him. I’ve got an EP of him coming out, I’ve got four tracks. It’s Now, Brainwave, Response Signal and Vitamin P. I might even drop it as Subtitles 40 because I love his tracks so much. The guy is unbelievable. He’s like, such a nice guy, as he’s got his world divided into where he has his entire kind of job life, his girlfriend, and he’s being all proper and like living the normal life and then there’s the drum ‘n’ bass side to him. And he’s just so happy just to be on Subtitles. And he’s like, mate this is as far as I want to go I just want to be on Subtitles because I basically tell him that you come on my label, because his production is so good anyway, that I just tell him that it doesn’t matter what you do, because I know it’s gonna be good and I’m not going to interfere on your creativity. So whatever you do, if you wanna put it out I’m gonna put it out no questions asked. So I’m basically gonna provide him with a creative playground so he can just blossom as an artist ‘cause that is something I always wanted when I grew up as an artist but always tended to be dictated by the labels I was on and Subtitles is not about that. Subtitles is about good music and creativity for the artists. It’s more an artists label than it is my label anyway. I don’t even want to earn the rights to the tracks in case someone blows up big and basically gets offered like a million dollars or whatever from Mac for a tune in a commercial. I’m not gonna be the one who’s like, yeah man, I’m gonna take fifty per cent of that or whatever. I honestly don’t believe that’s right man, ‘cause I didn’t create that piece of music. So it’s an artists’ label.

W: What do you set out to do when you play live? Are you one of those guys who just goes out there and tries to get people to shake their arses or do you put a little more thought into it than that?

T: I put a lot of thought into it. First and foremost, the most important thing about your set when you go performing is the moment when you’re done because, are people going to remember this? That is the most important thing. Because if people remember it, then they’re going to talk about it, and they’re not going to just talk about it for a week, or whatever, they’re gonna talk about it until you show up the next time when it’s time for you to make another impression. And also, in particular for first time listeners, you never get a second chance of doing your first impression. And a first impression is really, really important. If someone’s made their mind up about something, it’s really hard to get ‘em to change that. So I put a lot of time into it. I’ll check out a couple of weeks before I go on tour, make sure I have the freshest selection - try and stay away from the obvious anthems - and pretty much come with about ninety per cent music that no one’s ever heard before. And I think the whole challenge in that, when you play to a crowd of people who are expecting something from you and you’re also going to introduce them to music, that is completely fresh that they haven’t heard of, to provoke an actual feeling of appreciation is pretty hard when they’re not familiar with any of the stuff. So it’s a massive challenge for me to go out and pretty much just try and bring ‘em what I think is the best music from this scene, the most cutting edge and at the same time perform. So I love it mate, I love being not necessarily in the spotlight, but being on the spot and having to sort of prove my worth. And that’s what keeps me going really.

W: What is it about scratching that you like?

T: Well, I used to be a hip hop DJ. Well, to be honest with you, I used to DJ everything. When I first started off in this youth club that we had locally when I was twelve years old, they had this music group that were pretty much taking care of the entertainment or whatever at the end of the night and at that time I saw scratching on TV for the first time and I was just amazed man, because in my growing up there was one tune that changed my life. It was the Beat Street Breakdown and Beat Streets by Grandmaster Mellie Mel and Furious Five and in the intro of that tune there is this scratching pattern but as a kid I never knew that, I never heard that sound before, I thought it was an instrument. But then I saw that on TV as a twelve-year-old and realized that the sound I enjoyed hearing the most growing up was actually the sound of a record being pulled back and forth - that did something to me. So I think my life was pretty much mapped out that way. Because I wasn’t a producer at first, I was a DJ. I never really wanted to produce, but that’s another story. So basically what I did, I grabbed my dad’s turntable and I an old tape recorder that had something that looked like a fader as the volume control, so I connected that turntable through the tape recorder by hotwiring it and using the volume control to learn myself how to scratch. So yeah man, that’s just it. I just love to use it, not as an instrument, I don’t wanna say that because it’s a cliché, but just like a supplement, just to keep it a little more interesting from time to time.

W: That’s pretty much covered all the questions I had here for you. I guess what would you like to be remembered for do you reckon?

T: Just to be someone that kind of, not stood out, but just someone that was part of creating something brand new. That’s it. And that is also my aim, to like, when I’m gone from this place or whatever I want my legacy to be that he was a big part or maybe even a creator of this you know. And that’s what I want. And I won’t stop till I’ve gotten there. Even when I’m sixty, I’m still gonna try and push things. I’ve had millions of chances to sell out. I get them every week. But I just won’t do it. It’s just not in my nature man.

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Alt 30.06.2004, 09:36   #2
hustlin l.
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Sehr schönes Interview!
Teebee Album im September mit Liquid Light
Phace EP (big up yourself!!!) usw.

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Geändert von hustlin l. (30.06.2004 um 09:44 Uhr)
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Alt 30.06.2004, 09:43   #3
kai@future-music
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Zitat:
T: Phace? What the German? I f**k LOVE him man. I love him. I’ve got an EP of him coming out, I’ve got four tracks. It’s Now, Brainwave, Response Signal and Vitamin P. I might even drop it as Subtitles 40 because I love his tracks so much. The guy is unbelievable. He’s like, such a nice guy, as he’s got his world divided into where he has his entire kind of job life, his girlfriend, and he’s being all proper and like living the normal life and then there’s the drum ‘n’ bass side to him. And he’s just so happy just to be on Subtitles. And he’s like, mate this is as far as I want to go I just want to be on Subtitles because I basically tell him that you come on my label, because his production is so good anyway, that I just tell him that it doesn’t matter what you do, because I know it’s gonna be good and I’m not going to interfere on your creativity. So whatever you do, if you wanna put it out I’m gonna put it out no questions asked.
Ahhh... Flo... wicked!
So was liest man doch gerne. Congrats!
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Alt 30.06.2004, 11:35   #4
g-smoke
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Thumbs up big bad things

nice one!

die lp wird definitiv sehr dick!

und zu phace kann ich nur sagen: hammertracks! BIG THINGS BWOYZ!
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Alt 30.06.2004, 11:45   #5
hustlin l.
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ich hoff, dass 'Follow the Leader' auf der LP is
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Alt 30.06.2004, 13:03   #6
phace
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nope, soweit ich weiß kommt follow the leader als single mit ner geilen freshen teebee+calyx flipseite as well
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Alt 30.06.2004, 13:11   #7
hustlin l.
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Zitat von phace
nope, soweit ich weiß kommt follow the leader als single mit ner geilen freshen teebee+calyx flipseite as well
jo thx für die Info....
is die 12" für '04 geplant?

Auf die Flip bin ich auch ma gespannt.
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