By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
On Fabric 20, a popular mix CD series inspired by a London nightclub, Digweed returns to the progressive roots of his early ground-breaking mixes such as Renaissance: The Mix Collection, the 1994 collaboration with Sasha that first brought him to national attention. Opening with Pete Moss's ambient and heavenly "Strive to Live (16b mix)" and closing with Matrix and Danny J's heartfelt "Vertigo (Goldtrix remix)," Digweed flits through minimal, kinetic tracks by techno and house producers such as Adam Johnson (who records for Miami label Merck), Martin Solveig, DJ Rasoul, and others. It's a funky, rhythmic mix. For music snobs who automatically associate him with progressive house, it's a revelatory, inspiring experience to hear an established DJ remake his sound and give upstarts such as Michael Mayer and Optimo a serious run for their money.
John Digweed occasionally remixes tracks for artists as disparate as Brit-rock band the Music ("Freedom Fighters") and Quincy Jones ("Glimmer" on Jones's The New Mixes, Vol. 1); he also produces records with Nick Muir under the name Bedrock. But he is first and foremost a DJ who says he plays most Fridays and Saturdays. (Keep in mind that many working DJs spin up to five nights a week.) His other chief concern is the progressive house record label he owns with Muir, which also happens to be named Bedrock. It has launched a number of stars, from Steve Lawler and Jimmy Van M to Chris Fortier and Danny Howells. As a result, Digweed has rightfully earned a reputation as a mentor, a role the 37-year-old veteran seemingly relishes.
The following are excerpts from a phone conversation with Digweed while he was in London, which is always a crazy time for him. He usually has a lot of catching up to do after spending most of his life on tour, away from home.
New Times: Fabric 20 is an excellent mix CD. It seems different from your other mix CDs in that it incorporates other styles of music such as German techno and ambient music. Are you working on diversifying your repertoire?
John Digweed: Ah, I just think I wanted to ... I mean, that club Fabric has such a good sound system, and the crowd and the night and everything, it lends itself to playing great music.
My musical sound has changed. I think the fact that you say the album sounds different from previous albums is a good compliment. I don't want to be known for playing just one sound. I want to be changing and moving and trying different sounds and elements within my sets.
I think they use the word "progressive," but progressive started out as a term for forward-thinking music, and it covered a wide range of genres. But ... it ended up becoming a genre of its own. I don't really feel that I display one sound anyway. If anyone has heard me play an extended set, they know that it'll start off with that kinda deep, groovy house, and it builds on that to get into harder, driving, almost techno in some circumstances. It all depends on the club, the venue, what time you start the set, what time you actually go on, and everything else. I haven't got one set that I played at a club from 12:00 a.m. to 2:00 a.m., then play [again] at [another] club from 5:00 a.m. to 7:00 a.m. I work on the fly of how the crowd is and what I feel I should be dropping at that time.
You adapt according to the venue you're playing.
Yeah. Obviously there's a certain sound that I want to be pushing, but in those certain realms. I want to make sure that the night is as successful as possible. If I'm going on at five in the morning, and the night is already going off and going crazy, I wouldn't start with the 16b remix from the Fabric 20 CD because it's too much of a mood change and a killer.
What's the status of Sasha and Digweed? Most people here in America know you because of your association with him.
Sasha has been doing his residency in New York [at crobar NYC] and Los Angeles [at Avalon], and he actually lives in America now, so his base is in the States. But we're doing some shows in Europe, and we're doing a party at conference. He has a new mix album coming out, and before that he had his Involver tour for his Involver album. We both have got separate projects, and then we come together and do special one-off parties around the world. I think that makes it exciting for the crowd because they know we don't play every week together like we used to.