Deadbeat, aka Scott Monteith has been crating dub inflected house and techno for over ten years. His latest project however is his most explicit love letter for the genre yet. Drawn & Quartered is made up five cuts of stretched and manipulated soundscapes where the joy is to be found not so much in the sounds, as the space between them. Performing alongside visual-conspirator Lillevan, who brings unique stunning visuals to Monteith‘s music, he even set up his own label to release Drawn & Quartered, due to the demise of what he felt was the natural home for his music – Pole’s Scape label. We got in touch with Scott to find out some more, and at the end of the interview you can watch an exclusive excerpt from the duo’s live set
Tell me about the inspiration behind setting up your new label – I read it was inspired by the demise of Scape?
Philosophically yes it was though the idea of starting a label has been in my mind for some time and their closure as well as the crop of material I had just finished writing allowed that idea to fester into fact.
What was it about scape that was unique or needed to be replaced?
It always seemed preoccupied with a special kind of deep listening and adventurousness for me from a curatorial perspective that was necessarily concerned with dance floor function or genre convention. Dub was the jumping off point for the best Scape releases but individually they were all quite unique, and I guess that’s what I’ll be aspiring to for BLKRTZ.
The debut album is by yourself – will the platform open up to other artists?
Yes most definitely, though I’ll be concentrating on my own stuff and special collaborative projects for the foreseeable future.
Drawn and quartered is the name of new album – what’s the meaning behind the tittle – anything to do with being hung drawn and quartered?
No it’s simply a play on words regarding the four quarters of the vinyl release. I had the idea for an album with these kind of extended track times for some time and I’m very happy to have been able to realize it.
Dub is by its definition a fairly rigid starting point – where does your interest in the form come from?
I would disagree, In fact I think there have been countless examples over the last few years both in the techno and whatever-step off shoots that it is a very loose creative concept that can be pushed and pulled in any number of directions. It’s that sense of experimentalism and playfulness from a technological stand point which one can very easily trace all the way back to the earliest Jamaican dub experiments which has always drawn me to dubby sounds.
How do you continue to make dub music exciting?
I guess personally by pushing down the walls and kicking in the doors of any creative box that feels a little too comfy.
You recently performed alongside Lillevan at Mutek – how was that?
Fantastic, we both had a great time and really hope to do it again soon.
What was the idea behind the show?
A free form dialog using the material from the album as a jumping off point and trying to develop an immersive experience based on this material and images which Lillevan was inspired to create for the performance.
How do you work together?
We do a lot of talking about many things, loosely frame or creative goals before had and then have at it on stage. We’ve known each other for many years and it’s definitely the kind of performance I would only want to do with that kind of history. I’m really not at all interested in having whatever visual thrown on top of my musicby someone I’ve never met.
How do you find the right visual language for the music?
I leave that to Lillevan and have yet to see anything I didn’t like.
Who is your favourite dub producer?
From what era? Classics I’d say King Tubby or the Mighty 2 but there are any number of producers that could fill that spot depending on the day. It just never gets old for me.
Pursuit Grooves makes music for being chased by angry mobs or wild dogs. Whatever’s on your tail, if you’ve got Pursuit’s Grooves in your earphones, you’re gonna get the fuck out of there. Having just released her debut album Frantically Hopeful on Tectonic, and with a bunch of festival performances under her belt, the Washington D.C native’s angular juxtapositions of broken beats and bone crushing bass are fierce, fast and dangerous and have been picked up by everyone from Rush Hour (who gave her her first release) to techno DJ’s and alt-music blogs.
Check Pursuit Groove’s soundcloud for some nice podcasts too.
Favourite part of the day to create?
My favorite time of the day to create is daytime. The daylight motivates me.
Method or madness?
A bit of method and a lot of madness.
First musical love?
My first musical love was probably New Edition and Janet Jackson or my first Yamaha synthesizer!
One thing you cannot live with out?
I can’t live without good food.
My favorite instrument is a tie between drums and keys.
Your biggest break so far?
My biggest break so far was having Pinch take me on even though I was dancing to a different drum!
My eureka moment was when I studied every artform but kept returning to music.
My secret tip is to just create what’s inside because there’s an audience for everything.
A place to create?
I would love to have a beach side bungalow to create.
Last thing that inspired you?
The last thing that inspired me was watching a few cool performances at the Mutek festival.
He´s barely out of his teens, but Nicolas Jaar is hardly a fresh-faced newcomer. Bursting onto the music scene in 2004 at the tender age of 14 – his musical consciousness imbued with the sounds of Erik Satie, Nico or masters of jazz – Jaar released his diffidently titled The Student EP on New York-based staple Wolf + Lamb. His idiosyncratic take on electronic music has already scored him gigs at Berlin´s Club de Visionaire, New York´s Marcy and the Mutek Festival and his debut album is perhaps the one of the most anticipated releases in 2011. No wonder Electronic Beats included the Brown University student in our Best of 2010 countdown.
We caught up with the rising star of 21st century techno to talk about Bergson, Magritte and the Beatles.
1. What gets you going in the morning?
2. What five records would you take to a desert island and why?
Songs From a Room – Leonard Cohen
La llorona – Llhasa
‘Cause they’re on fire!
3. What inspires you to create?
Other things that have been created.
4. What book or piece of literature are you reading at the moment?
5. Favorite piece of literature and why?
Too many – lately things by Bergson.
6. Favorite club?
To play – Compound in SF, Trouw in Amsterdam, Fabric in London and Bar 25 in Berlin.
7. What one historical figure inspires you or would you like to meet?
8. List five movies that you couldn’t live without?
One Flew Over the Cuckoo’s Nest
Man in Black (I still haven’t watched it but according to all my friends, I will be obsessed with it..).
9. Favorite director or actor?
10. Favorite piece of architecture or building?
Leonard Cohen [SIC]
11. Favorite combination of food or recipe?
Chicken and rice
12. Favorite musical genre in the last 100 years and what would you mix it with if you could?
Ethiopian jazz from the 60s and 70s – wouldn’t mix it. (though I do sometimes).
13. Favorite Internet site?
14. Who has had the biggest influence on you in your life?
That’s a crazy question.
15.What is one record you should never be seen dancing to in a club?
Anything made exclusively for the purpose of making a profit.
16. Favorite 5 music artists currently listening too?
17. Favorite piece of art or artist?
"Socle du Monde" – Manzoni
18. Artist you’d most like to collaborate with?
19. One obscure band you think should be more popular?
20. What’s your ringtone?
21. Does Nicolas Jaar have a favorite sauce?
Every sauce my mother has ever made.
Nicolas Jaar´s album Space Is Only Noise is released at the end of January 2011 on Circus Company