Latest / Headroom / Mefjus' & Zombie cat's compression trick (Feat. Zombie Cats)

Transcript

Mefjus' & Zombie cat's compression trick (Feat. Zombie Cats) · Headroom

• 0:00
  SPEAKER_02: And we are rolling.
• 0:02
  SPEAKER_02: Hello, listeners.
• 0:03
  SPEAKER_02: Hello.
• 0:03
  SPEAKER_02: Oh, yeah, hello.
• 0:04
  SPEAKER_02: We have Ruben here from Zombie Cats on today's episode, here to talk about some amazing drum bass.
• 0:10
  SPEAKER_02: Hi guys.
• 0:12
  SPEAKER_01: Yeah, great to be here there.
• 0:14
  SPEAKER_01: Thanks, Roman, for the invitation.
• 0:16
  SPEAKER_01: Of course, of course.
• 0:17
  SPEAKER_01: And I'm looking forward to all the nasty, tricky questions you're going to ask.
• 0:24
  SPEAKER_02: Let's get the ball rolling here.
• 0:26
  SPEAKER_02: First and foremost, big fan of your work.
• 0:29
  SPEAKER_02: Big Zombie Cats.
• 0:31
  SPEAKER_02: Love what you guys are doing.
• 0:32
  SPEAKER_02: So it's absolutely an honor to have you on.
• 0:35
  SPEAKER_01: Well when was the first time you listened to Zombie Cats?
• 0:39
  SPEAKER_01: That would be my quick.
• 0:45
  SPEAKER_02: The first time I listened to Zombie Cats would be, I believe, two years ago after I went to Escape Halloween.
• 0:55
  SPEAKER_02: I saw NBC for the first time, and that was my first rave experience.
• 1:01
  SPEAKER_02: And that was kind of like my first um introduction to Driven Bass.
• 1:05
  SPEAKER_02: So after that, I was like, I gotta listen to this some more.
• 1:08
  SPEAKER_02: So I go on a playlist and I l I put it on Shuffle and I hear uh zombie cats need featuring abyss.
• 1:18
  SPEAKER_01: And I was like, Yes, we can talk about this one today, also.
• 1:22
  SPEAKER_02: My ears exploded.
• 1:24
  SPEAKER_02: It was so tight, and I was like, I gotta dig more into this pressure with such a uh a unique name, like zombie cats.
• 1:30
  SPEAKER_02: It's I gotta look into that.
• 1:32
  SPEAKER_01: Um kind of film basically pretty new to the game.
• 1:37
  SPEAKER_02: Yeah, yeah, big pretty new, but dude, ever since then, German bass has been all I've been listening to.
• 1:44
  SPEAKER_01: Okay, this is great.
• 1:45
  SPEAKER_01: This is really great.
• 1:47
  SPEAKER_02: Okay, 2004, NDC, in uh Los Angeles or it was in San Bernardino in um 2024, I believe.
• 2:01
  SPEAKER_02: 2024-2025 Escape Halloween in San Bernardino was his stat.
• 2:07
  SPEAKER_02: So that was really cool.
• 2:08
  SPEAKER_01: Okay, and then you found uh ourselves zombie kids on Spotify.
• 2:13
  SPEAKER_02: Yeah, on the Spotify playlist.
• 2:15
  SPEAKER_01: Alright, from Spotify Live to your podcast.
• 2:20
  SPEAKER_01: Oh, yeah.
• 2:20
  SPEAKER_01: What's the first question we can talk about?
• 2:22
  SPEAKER_02: First question.
• 2:23
  SPEAKER_02: Do you know how I got into the rave scene?
• 2:26
  SPEAKER_02: I would like to know how you got into the rave scene.
• 2:29
  SPEAKER_01: Oh, this is a very long uh answer.
• 2:32
  SPEAKER_01: But um let me put it uh into a nutshell.
• 2:35
  SPEAKER_01: Um I would say the first uh the first connection to the rave scene was I found in uh Sidif um at my brother's um room and he was listening to Broad Prodigy back in the days, long long long time ago.
• 2:53
  SPEAKER_01: It was the experience album we are talking about here 1994 or something like this.
• 3:00
  SPEAKER_01: So I've got an older brother, and he's not into um electronic music at all, but somehow he bought this CD and it was a great choice now in retrospective because I was infected by the um breakbeat virus, I would say that, and then I was listening to Breakbeat all the time, and uh here in J Germany there there was no um resources to to find anything about uh breakbeat music or like happy hardcore and every uh anything.
• 3:37
  SPEAKER_01: And um when I had like some uh I was like visiting uh the UK with my parents and I made like always try to get into the uh record stores and uh I had the chance to buy some CDs, some vinyls and everything, and from there um I just saw the whole evolution from breakbeat to to jungle to drum and bass.
• 4:04
  SPEAKER_01: So yeah, I seen it all.
• 4:06
  SPEAKER_01: It was a magic time, it's still magic, it's different, totally different.
• 4:11
  SPEAKER_01: But um starting to become a raver, like going to to to the parties.
• 4:18
  SPEAKER_01: I would say it was around about 1996-97, which was like a local thing because jungle drummer bass also was here in in Germany, very small clubs, but around the 2000s it got bigger and bigger.
• 4:38
  SPEAKER_01: I mean, Germany has got like a rave culture, but it's different, it's not jungle or drummer bass mainly, it's about techno and house music.
• 4:48
  SPEAKER_01: I mean, I guess everyone knows that Berlin is like a techno techno city, and uh yeah, it was most of the time.
• 4:57
  SPEAKER_01: If you were like partying back in the days, it was like round room one was a big techno stage, and maybe in room two or most of the time and room three or four, there was like uh jungle drum and bass, and yeah, I was like a long time back then.
• 5:17
  SPEAKER_01: I was like most of the time was I was playing uh breakbeat, happy hardcore, and around 2003 I changed to drum and bass because um also drum and bass changed, it it got way more um techy, uh it was more rolling, more pure pace, uh more shakers and everything, and this was uh way more interesting for me because uh drum and bass in the beginning was very two-step influenced, uh, very slow.
• 5:51
  SPEAKER_01: It wasn't slow, but it felt slow because of the heavily uh centered two-step beat, and uh yeah, when like artists like Stuck on Skynet or Raskin Clone or uh who else, yeah, basically those guys added a lot of percussion into drum and bass.
• 6:14
  SPEAKER_01: It was uh yeah, it was way more rolling and more yeah, it uh was more than yeah, it was uh this was something which which cat yeah caught my attention because I I uh before that it was like very breakbeat oriented with based on aims and everything.
• 6:36
  SPEAKER_01: And this new style of drum and bass was also they had the same energy, and this was something okay.
• 6:43
  SPEAKER_01: Uh I think it's time to to to switch from breakbeat happy hardcore to drum and bass only, and I did that around 2003.
• 6:53
  SPEAKER_01: But I think did I answer the question?
• 6:56
  SPEAKER_01: Yeah, around 2000, I went to party three.
• 6:59
  SPEAKER_02: So you've been in the game for a while with this whole music and dream basically.
• 7:02
  SPEAKER_02: Very long time, got a lot of that experience.
• 7:05
  SPEAKER_01: Yes, yes, since I mean, if basically, um i I mean, I would if if you ask me when was the time that you had like uh your breakthrough or something like this, I would say 2006 because I had my first official releases on N UK label which had like a lot of influence back then, called the label was called Decipher, and um but before that I was like uh listening to a lot of uh drum and bass, break beat, playing like on in local clubs and everything, and before that I was just a kid listening to this kind of music.
• 7:47
  SPEAKER_01: So if you put everything together, it's more like more like 30 years now, which is crazy, you know.
• 7:52
  SPEAKER_01: Yeah, so very long time ago.
• 7:55
  SPEAKER_01: I mean, you will have this situation in 2045?
• 8:02
  SPEAKER_01: Is that correct?
• 8:03
  SPEAKER_01: 2054.
• 8:06
  SPEAKER_01: Yeah, yeah, you will have this feeling I have got now with uh 30 years of drummer base.
• 8:13
  SPEAKER_01: Um I believe so.
• 8:15
  SPEAKER_01: You will have this in two 2054, right?
• 8:19
  SPEAKER_01: I believe so, yeah.
• 8:20
  SPEAKER_01: That should be okay.
• 8:21
  SPEAKER_01: Please put this in your calendar market and then we will celebrate together.
• 8:26
  SPEAKER_02: We will celebrate.
• 8:27
  SPEAKER_02: I will go I'll go to Germany.
• 8:28
  SPEAKER_02: I'll go across the world.
• 8:32
  SPEAKER_02: So you mentioned um happy happy hardcore music.
• 8:37
  SPEAKER_02: That's yes.
• 8:38
  SPEAKER_02: Are you familiar with gore shit?
• 8:42
  SPEAKER_01: Oh you have to can can you um can you spell it?
• 8:47
  SPEAKER_02: Uh yeah, it's uh G O R E S H I T Let me see, let me see, let me see, let me see.
• 9:01
  SPEAKER_01: Um I think it's it's round it's more like brake core, is it possible?
• 9:08
  SPEAKER_01: Speed core or something like that?
• 9:09
  SPEAKER_02: Uh he does a wide variety.
• 9:10
  SPEAKER_02: He does some German bass, um, some happy hardcore and some speed core going on.
• 9:16
  SPEAKER_02: But yeah, I think he's um at least down here is pretty uh well known in the underground community.
• 9:22
  SPEAKER_00: Oh okay, okay.
• 9:24
  SPEAKER_00: Um well so where is he based in America?
• 9:30
  SPEAKER_02: I think he's UK, I think, somewhere out there.
• 9:34
  SPEAKER_02: Let's see.
• 9:35
  SPEAKER_01: Okay.
• 9:36
  SPEAKER_01: Okay.
• 9:37
  SPEAKER_01: Well, the the stuff I was listening to was like Night Force, uh, Slam and vinyl, and um later on also the Netherlands uh clique, which is like uh Thunderdome and everything like this.
• 9:51
  SPEAKER_01: Oh but I will check him out.
• 9:53
  SPEAKER_01: Oh yeah.
• 9:53
  SPEAKER_01: Yeah, I will check him out.
• 9:54
  SPEAKER_01: It's it's I think um I think he might be uh the generation after the generation I was listening to.
• 10:05
  SPEAKER_01: This could be so basically maybe his his breakthrough was around that time when I was uh switching to to uh drum and bass mainly, and then from there I was not uh checking out this kind of music anymore, like happy hardcore and everything.
• 10:20
  SPEAKER_01: Yeah.
• 10:21
  SPEAKER_01: This I think this could be, yeah.
• 10:23
  SPEAKER_01: Because I was not familiar with his name.
• 10:26
  SPEAKER_02: Yeah, I think that'd be uh be uh a pretty good cup of tea for you.
• 10:30
  SPEAKER_02: Uh-huh.
• 10:30
  SPEAKER_02: Yeah, okay.
• 10:31
  SPEAKER_02: Yeah, I will check him out.
• 10:32
  SPEAKER_02: Can you uh can you two-step?
• 10:36
  SPEAKER_01: I mean the dance?
• 10:37
  SPEAKER_01: Yeah.
• 10:38
  SPEAKER_01: If I can if I I well I mean if you if you uh check a little bit out zombie cats, you can see that I'm supporting the uh drum and bass step a lot, uh especially in the past.
• 10:52
  SPEAKER_01: I can do it a little bit, you know.
• 10:55
  SPEAKER_01: I wouldn't call I wouldn't I I mean I can dance to drum a bass and it looks fine, and I do do some steps here and there, and also my friends who are like heavily into uh drum and bass step that try to uh teach me, and yeah, I mean it's it's it's it's okay, but I wouldn't say that I'm a big dancer of things like this.
• 11:17
  SPEAKER_02: Alright, so switching gears a little bit, switching topics here, yes.
• 11:21
  SPEAKER_02: The next question is here.
• 11:23
  SPEAKER_02: So uh congratulations on Gozer, that song that you release, uh Super Sick.
• 11:29
  SPEAKER_02: Yeah, sounds super cool, and I wanted to dig into that a little bit.
• 11:33
  SPEAKER_02: How long has that one been in the workshop for?
• 11:37
  SPEAKER_01: Okay, I mean the idea, the main idea of Gozer is one and a half years old, but you have to know how we are working here.
• 11:50
  SPEAKER_01: So basically we've got like a big, big uh yeah, a drop box filled with ideas.
• 11:57
  SPEAKER_01: We started and it's just a drop mainly, and um sometimes we also forget that we did an idea and it's it feels like um digging into like uh our personal um sample library.
• 12:18
  SPEAKER_01: And we found I found this, I think.
• 12:23
  SPEAKER_01: I can I can tell you directly when I see that I just have to open the the um what's the conversation uh conversation here with uh handsome with uh René, great guy.
• 12:36
  SPEAKER_01: And then I can tell you exactly when we opened the idea again.
• 12:43
  SPEAKER_01: Because uh we have got the same agent at NBA Artist uh um René Badlock and I.
• 12:50
  SPEAKER_01: And um he connected us uh in yeah, I can tell you exactly on the 13th of June.
• 13:01
  SPEAKER_01: He connected us and uh he was asking uh Renier was asking then if I've got something for his label.
• 13:12
  SPEAKER_01: And uh I opened the folders and I sent him some some sketches, some ideas, and uh Gozer was uh the concept which caught his interest.
• 13:24
  SPEAKER_01: And from there we made the plan when we are going to finish it, Ross and I.
• 13:30
  SPEAKER_01: And the idea Oh, this is like this is something exactly so I can be pr precise exactly with the date.
• 13:42
  SPEAKER_01: Usually this is not so on point.
• 13:44
  SPEAKER_01: If it isn't too much trouble.
• 13:47
  SPEAKER_01: No no, it it it it's it's not a trouble at all.
• 13:50
  SPEAKER_01: Uh we finished it.
• 13:56
  SPEAKER_01: Here I can tell you it is end of June.
• 14:02
  SPEAKER_01: July.
• 14:02
  SPEAKER_01: Yeah.
• 14:03
  SPEAKER_01: So basically five weeks later it was finished.
• 14:07
  SPEAKER_01: So now you know.
• 14:08
  SPEAKER_01: Now now we know.
• 14:10
  SPEAKER_01: You know, one one and a half years ago we started the drop, and 13th of June we uh reopened the idea, and five weeks from there we finished it.
• 14:24
  SPEAKER_01: But you have to be well, you have to say that uh uh Ross and I we were not working uh on this track every day.
• 14:31
  SPEAKER_01: Basically, it's I would say maybe six or seven sessions, and then it was done.
• 14:39
  SPEAKER_01: And uh he sent me Rini Badlock and uh smear lab uh they sent me a feedback what uh they would like to change.
• 14:51
  SPEAKER_01: It was nothing crazy, you know, like maybe uh can you turn up uh the baseline, maybe one or two db, and this is tweak the single frequency.
• 15:02
  SPEAKER_01: Yeah, some tweaking something like but nothing nothing crazy.
• 15:06
  SPEAKER_01: And uh then we after that we were talking about the artwork and he sent me the ideas, I sent him some suggestions back, and it was I have to say it was one of the most um yeah, it was one of the most smooth uh one of the smoothest working flow we I had within label.
• 15:28
  SPEAKER_01: Uh I totally uh enjoyed that and we will um yeah continue this uh very soon.
• 15:36
  SPEAKER_01: Splendid! Uh yeah, because it was just fun and uh he's also a great guy, he's also from Germany, um the owner of Handsome.
• 15:46
  SPEAKER_01: And um yeah.
• 15:49
  SPEAKER_01: We will see.
• 15:50
  SPEAKER_01: I think this is like the start of something, you know.
• 15:53
  SPEAKER_02: Oh really?
• 15:54
  SPEAKER_01: Yeah, I think it's the start of something that we uh that we will release more music on on his label for sure, and that we are going to make some uh back to backs also live.
• 16:06
  SPEAKER_01: I think yeah, this is the direction we are super sick.
• 16:09
  SPEAKER_02: Excited to hear some more of that in the future.
• 16:12
  SPEAKER_02: Yes, yes, you will.
• 16:14
  SPEAKER_02: You mentioned the artwork.
• 16:16
  SPEAKER_02: Um, the artwork that you guys go.
• 16:18
  SPEAKER_02: What inspires your guys' artwork and titles for the songs that you guys make?
• 16:24
  SPEAKER_01: Yeah, basically, uh, I can't say that there is like a big concept because basically they are like two directions.
• 16:33
  SPEAKER_01: Um back in the days, most of the artworks um we were thinking about is like catching the vibe of the name itself because zombie cats is like more a fun approach.
• 16:47
  SPEAKER_01: We are not so like I mean if you're listening, if you if you hear the word zombie, it can be ultra violent and evil and whatever, you know, all the gore stuff.
• 16:57
  SPEAKER_01: Um but if you add like cats, I mean you get that it's a little bit more loose, fun and not so yes, a little bit more uh with a yeah yeah, funny approach.
• 17:12
  SPEAKER_01: And this is basically also something what we try to get with also out our merchandise, that it has good like uh a cool comic look.
• 17:24
  SPEAKER_01: Um I'm thinking about this brand.
• 17:28
  SPEAKER_01: What is this again for because Ross is from Australia and his older brother uh he's a surf teacher, and I know that he had this um brand, was wearing this brand all the time.
• 17:42
  SPEAKER_01: And this was also one of our role model ideas, this brand.
• 17:47
  SPEAKER_01: It had exactly this vibe, like not too serious, cool looking, comic, funny, but not cheesy.
• 17:55
  SPEAKER_01: This was like the idea, you know.
• 17:58
  SPEAKER_01: Um but sorry, um I will find it out.
• 18:01
  SPEAKER_01: I don't I I don't have to uh the the the the secret is not to think about it, and then I have the answer, you know.
• 18:07
  SPEAKER_01: So uh let's go on.
• 18:09
  SPEAKER_01: Let's go on.
• 18:09
  SPEAKER_01: Artwork.
• 18:10
  SPEAKER_01: Yeah, artwork.
• 18:12
  SPEAKER_01: Okay.
• 18:13
  SPEAKER_01: Uh I think um talking about their artwork, um we just did one artwork which was super personal, and this was from the second album called Tech Dreams.
• 18:32
  SPEAKER_01: I will just open it here.
• 18:35
  SPEAKER_01: And if you guys also like maybe Google Google it, there is like uh interesting detail in the artwork of tech dreams, and because you can see it the the second album was released on dispatch.
• 18:52
  SPEAKER_01: The label, and if you see the artwork, you can see that there is like a TV in the middle in the center of the artwork, and from there we um you have to you have to really really uh zoom in and you can see some buildings, you know, and these buildings are exactly the combination between Perth, where Ross is from, and Hanover.
• 19:19
  SPEAKER_01: And I really like those small details, you know, because basically you can see where we are living, uh, and uh I like those small hints in artworks, you know.
• 19:31
  SPEAKER_01: I think nobody will ever uh see that uh until I uh explain this now.
• 19:37
  SPEAKER_01: And otherwise, talking about artworks, is there something is there maybe an artwork which yeah caught your attention?
• 19:44
  SPEAKER_02: Oh, yeah.
• 19:44
  SPEAKER_02: Uh the first there were there was two of them.
• 19:47
  SPEAKER_02: One was the um I think it was need, where it was uh the cat sitting on the throne.
• 19:57
  SPEAKER_01: The cat on the throne, yeah.
• 19:58
  SPEAKER_01: That one.
• 19:59
  SPEAKER_01: Alright, alright.
• 20:01
  SPEAKER_01: Um I would I would lie to you in your face if I would now tell a story about this because it's not the artwork I did, you know.
• 20:14
  SPEAKER_01: The the artworks uh I did or like I had the idea with and told the art uh the the illustrator that was like the tech dreams thing and also a couple of other artworks.
• 20:26
  SPEAKER_01: But basically, this one, if you talk about artworks um and eatbrain, because eatbrain has got his um own artwork um person who's drawing a lot, it's Trilo, and he came up with the idea, and most of the time he tried to uh grab his idea of the of the main title, yeah, of the title track, which is here uh World Ends.
• 20:58
  SPEAKER_01: This is what was also one of the tracks on this EP, and basically with zombie cats, you know.
• 21:05
  SPEAKER_01: And I think his idea here is that if you if you check out the um the artwork, that this zombie cats has got a very demonic feeling, you know.
• 21:19
  SPEAKER_01: So basically the the dead people like also like zombies, or like all the demons, they uh ruling the world now, and this means the world ends because the dark side wins.
• 21:32
  SPEAKER_01: Or or it could be, I mean, I don't think so, but also it could be that we are already uh living in in the hell.
• 21:41
  SPEAKER_01: This could also be a uh an um an option because the background looks very uh red, uh and uh also the small uh um creatures uh on the on the floor.
• 21:57
  SPEAKER_01: Yeah, it looks like they are still uh Um living but um basically also dead.
• 22:04
  SPEAKER_01: So yeah, hell on earth world ends.
• 22:09
  SPEAKER_02: And did you do the work for uh you or Ross do any of the work for the Gozer album?
• 22:17
  SPEAKER_01: For which album?
• 22:18
  SPEAKER_01: Gozer.
• 22:19
  SPEAKER_02: The album cover, the single cover.
• 22:21
  SPEAKER_01: Ah, the album cover, yeah.
• 22:22
  SPEAKER_01: Um so what we did is I can see I've got the conversation here.
• 22:29
  SPEAKER_01: Uh René Um Badlock sent me the first idea.
• 22:34
  SPEAKER_01: Let me see.
• 22:36
  SPEAKER_01: And I think it was pretty pretty cool already, but something was not working for myself.
• 22:48
  SPEAKER_01: And it was definitely I can remember that the the eyes were different to the final because in the final you can see that that ice, you know that um where is it?
• 23:03
  SPEAKER_01: Okay, if you put goza inside you get the final boss of uh Ghostbusters 1, which is also the idea.
• 23:12
  SPEAKER_01: Um, yeah, basically, okay.
• 23:14
  SPEAKER_01: If you you did you did you watch Ghostbusters 1?
• 23:19
  SPEAKER_01: Of course.
• 23:20
  SPEAKER_01: Yes, you did.
• 23:21
  SPEAKER_01: So you know who's Ghosa, right?
• 23:23
  SPEAKER_01: Yeah, the the the big the big boss, the big ghost, the big boss, exactly, exactly.
• 23:28
  SPEAKER_01: And also, um I mean there is like um all the Ghostbuster fans will hate me now because I don't have the the answer in my head, but they're also like these these creatures which are I don't know between a dog or a cat or something like that.
• 23:47
  SPEAKER_01: Yes, exactly.
• 23:48
  SPEAKER_01: And basically this was good, safe to continue part two.
• 23:54
  SPEAKER_01: Alright, is it recording?
• 23:57
  SPEAKER_02: Yeah, ready to roll.
• 23:58
  SPEAKER_02: So the Ghostbuster Bull Demon Dog things.
• 24:02
  SPEAKER_01: Yes, exactly.
• 24:03
  SPEAKER_01: This was like the idea when I was writing the track.
• 24:06
  SPEAKER_01: I just had this this uh name in my head, like okay, Ghoster, let's let's uh record uh vocal uh for that, okay, done.
• 24:18
  SPEAKER_01: And uh Rini asked me, okay, why Gozer?
• 24:20
  SPEAKER_01: And I said, I don't know, to be honest, I can't tell you, it's just something I had in my mind.
• 24:26
  SPEAKER_01: But uh let's open the book again.
• 24:28
  SPEAKER_01: What was what happened in Ghostbusters?
• 24:31
  SPEAKER_01: And then we uh thought about this uh demon, what did you say?
• 24:36
  SPEAKER_01: Demon bull?
• 24:37
  SPEAKER_01: Bulldogs, kind of looking things.
• 24:39
  SPEAKER_01: Bulldogs, something like this, exactly.
• 24:41
  SPEAKER_01: And I think there are two of them, and basically this is why we've got this uh double head cat on it.
• 24:50
  SPEAKER_01: And um in the first um version of the artwork the the cats uh still have got like their their you can see that it's like a um a classic eye, you know, but in the in the final it has like more this lifeless um demonic look and it's also fitting with the um I think with the um movie itself but we had this idea or I had this idea also I personally like this um this these eyes when they are like kinda lifeless and it it always looked so much more intense you know because you can't see the um the the the emotion from from the character if the if there's like just a blind eye you know and it always looks so um intense I love this you know also if you watch old um horror movies or something like this they often have this you know I I I mean this is perfect and the first time I was thinking about those eyes to use those um um emotionless uh eyes I think it was in mutation the artwork mutation I will just open it here uh yeah you can see yeah yeah yeah basically you can see uh if you check out the mutation artwork it was our first album you have got like this cat and on the one um hand the the cat skull is like normal but already a little bit mutated and on the other side there is like uh basically uh this emotionless eye but there is like the cross and the cross is like um uh the link to our home uh which is eat brain you know so there's less there's also like a hint to to uh the eat brain label with this yeah crosses it with this axe that is super sick that we have that we have that a little story behind Gozer and the mutation artwork it's it's it's great artwork you guys for sure have a style with it thank you of course of course you big big horror movie fan is is what you mentioned before yeah as a child I was I was a really I I mean I have to be uh correct now because uh of course I never watched um horror movies as a child but I st but when I was old enough I was watching them all you know so if my parents are the uh checking out this podcast uh they will not be shocked the very under underground podcast from California that they will find no I was I was as a child I was like or as a teenager or as a young adult I was um super interested uh because I when I was uh visiting my grandma uh in a different uh city not in Hanover it was in Dortmund back in the days uh there was like um small how can I describe that it was like a bookstore also with VHS and DVDs and everything and all and this small store it was like a really small one um they only focused on horror movies which is something I'd never seen before never seen again maybe in in the States there are like shops like these but in Germany you don't have the uh so special shops only based on horror uh this is like very very uh raw thing and I was uh yeah I was of course interested in that and I stepped in and the people were super nice and friendly and uh yeah just had a chat and they gave me a book a book with the most uh what was its name the most bloody movies on earth the top 100 or something like this and I was like oh I want to watch these you know but back in the days there was not so much um yeah options like today and um yeah it was also like an interesting um time to to find maybe here and there the the the video and I was was watching them some of them was were super boring but some especially the um horror movies from Italy from the 70s and 80s they were pretty interesting and also Arty and yeah do you have like oh sorry yeah do you have did you ever carry a favorite horror movie with you like like your main favorite one let me think um I mean I'm may maybe you can hear that that I'm not such a super serious guy I I also like to joke so I would say that one of my favorite um movies which are kinda horror you know uh is uh Army of Darkness I would say oh I know I know Army of Darkness yeah totally loved this one it's uh yeah I mean the first time I was watching Army of Darkness was it was because we are still in the we are in the VHS days and a friend of my brother gave me a tape a VHS tape and I think the movie was maybe Home Alone or something like this you know and I was watching it and after the Home Alone video there was another movie and this was Army of Darkness.
• 31:06
  SPEAKER_01: I think he didn't know that he gave me this one and I was watching this one I was fascinated because it was something I've never seen I was quite young I'm pretty sure and um yeah basically Army of darkness has got exactly the vibe when we are talking about this right now which I I'm trying with zombie cats you know because it is it is kinda horror and and and at heart but always fun you know and it has a humor talent yeah totally this is basically I also like um in in I I mean you you can be serious and everything and you can be super uh precise and everything but if there is no fun in the music I mean no that's not for me uh and and eat brain I mean also the name eat brain it sounds also not super serious no and also with the artwork and everything this is the because and this is the per that was the perfect label back in the days to to to start and we had this it was never the um the the original idea that zombie cats has to have the first releases on eat brain it was something totally separated of course we know Jade and everyone there but it was now our intention that we have like a name which totally vibe with uh the name eatbrain was just a funny coincidence uh incidence and um yeah funny that we are talking about this also funny I think I have to to to lay down to the couch now and then I can talk no worries get comfortable get comfortable oh that's fun all right yeah next question next question here so you mentioned fun I'm glad you're having a blast I'm glad you're having a blast yes um so you mentioned uh bringing humor as well was the dark theme and I did uh um mention that I wanted to speak about um I forget which other song it was but absolutely no god that one has the um the office sample of Michael Scott yes yes the office is maybe the best um series not uh how can I say that there are so many great series you know but the office it's such a masterpiece you know because it's so funny it's it's uh a little bit tragic um I I I'm a I'm I'm a really big fan and this no God I mean I I have I I re I really like to to to put um memes and and some how can I say that um I mean it it it's uh it's uh something which created a it a a a a typical vibe for for that time because a memes nowadays are changing yeah heavily you know but back in the days a meme a meme um it was there and it was there for a longer time you know and um this is something I kinda miss to be honest because nowadays memes are changing so often and everything lost his um purpose or his meaning and everything but this Michael Scott thing with this vibe you know it's a serious track it's a it's like a dark drop and everything but you have got like this funny um Michael Scott phrase and it makes like this perfect bad this perfect blend blend between serious hard music but not too serious because you you mainly you you have you should have fun and this is this is perfect you know the another artist who did the same idea but maybe not so not not quite a hard drop like in no god it's a pretty hard drop but it's also noisier because noisier I'm super happy that they are back oh yes I think you also read the uh the info and they did uh something similar uh with this track cannonball together with face floor and that's um because this is from also a great movie called anchorman and um when this um main uh character is um jumping into the pool he's screaming cannonball and he did this they did the same you know but just I would say that their drop noisier and face cannonball I think it's face right not that I'm talking nonsense here I think it's noisier and face cannonball or is it just noisier no it's both I'm right okay this is this is basically a similar concept that you're taking uh a sample from a funny uh movie and make a heavy drop but I would say the cannonball drop is also a little bit jump up influenced not so heavy but yeah when I was writing no god I I wanted to have this sample I wanted to do something with this sample and later on uh the clamps was remixing uh the track uh which is nowadays Burk and is doing a lot of great stuff and he I would say he uh made the drop even more uh heavy and more nasty and everything as they do they have a real great heavy hitter sound to them so good see so other than no god there is also forgive me I forget the name of the track but the sample is the yeah boy flavor flavor yes yeah boy I mean this sample is from flavor flay from public uh enemy the old hip hop gang from I don't think I think it's early 90s let me see public enemy uh aren't they from your area I think so let me think public enemy public enemy definitely from your from the states I'm not sure about the area exactly oh no it is they're from New York alright active nineteen ninety eighty five uh nineteen eighty five yeah and this a year boy um yeah it's Flavor Flay this is the guy with a big um he has got like a big watch uh as a as a chain around his neck that was always his his his uh his um yeah his style and um I can't tell you uh like a big story why exactly this but my idea was like because there are so iconic samples which I used from I mean also this gear boy sample is from oh it it it's like used so often in in old breakbeat and happy hardcore really um yes so often and uh this was a sample which I had on my uh computer since the the the 90s uh and wow uh the yes yes and you will you will hear um if if we would like uh dig into uh the tracks there are always not always but pretty often samples in it which are from the 90s because I've got still I've got like the old uh sample cds and I'm I still like those um those samples so much I um I I this is something I would like to do way more often to use old samples because the characteristic uh the characteristic of those old samples always makes the track timeless you know but nowadays because nowadays if you if you have like a sample um you have to be careful if it's like copyright and all that if it's it's yeah maybe yeah this of course but if it is it is it maybe somebody just did it um with an AI and just then sold it on on splice or whatever and especially splice was something or is is something that everybody or kinda everyone is using then your sound is also like pretty how can I describe that everybody sounds pretty the same nowadays I would say which is terrible but uh if you if you know the roots and you work with the original sounds from way back then it gives your music a little bit more depth you know like deepness or something like it it for me it feels like the track gets more meaning you know and this is something I would like to do more often yeah boy I know I it's so strange that that's from the 90s because I thought it came I thought it popped off with like the um 2013 memes with like no denying cat and all that no no no I can let me see it's from the track bring the noise and I think the track bring the noise is something from the maybe the ators let me see bring the noise public enemy release date nowadays we can check out it's from 1988 wow yeah so yeah learn something new every day you know funny you mentioned the uh sample cds because um a little funny story here it was coming on a birthday uh december 29th and my buddy who loves uh jungle drum and bass and all that old school 90s jungle drum and bass he went to the store and they had sample CDs and he got me one for my birthday and he gave it to me at my house and I was so excited I was like I can't wait to look on the samples of these CDs and see what's on here.
• 42:21
  SPEAKER_02: I I put it in my computer and I don't know what kind of sample CD it was but it was full of like um a woman saying like super like seductive and erotic words what what is I can't use this in my music how am I gonna how am I gonna put this in and I told him I was like did you listen to this before you like gave it to me and he was like no I just got it at a shop and then I sent him the videos of it and it's just like it has straight moaning on it that that is I cannot use into my music as super I I think someone bought it and then took all the good samples out and then just left what he didn't want and then gave it back.
• 43:10
  SPEAKER_01: Oh so I think that was super super funny how was that this that's funny so back to here to the podcast back to these little questions that I have here are you a big sound design guy the I would I wouldn't recall my I wouldn't call myself a sound design because I've got so much respect for this word you know um I would call for instance uh noisier uh sound guys for me like uh creating uh the stuff of course I am able to create like a re sound or or like a bass line for drum and bass um but my my feeling to call this like to be like a sound uh creator or a sound engineer or something like this.
• 44:05
  SPEAKER_01: I have su so much respect for this word so I wouldn't say that that I'm this guy.
• 44:11
  SPEAKER_01: Um I think maybe this is also a character my my personal character that I um I'm very high critic on my own you know if I create something like this you know like um if is this good enough or is it not and I'm always super happy if people like really like my music and everything but um inside the group I would say that um I personally am a big fan of Ross what he's doing so it's always uh it's always great to to work with him when he's creating like the the bass lines and everything and um yeah we can talk about also how a zombie cast is working if you if you like the the workflow of it yes exactly because let's take it there is like yes because there is like a workflow created since 2006 you know when we started working together and basically we started well it changed a little bit over the years but in the very very beginning uh it was like that Ross was creating a lot of uh sounds and you just throw the sounds to me and somehow I have to figure out the puzzle you know that was something what he always said like you have got so many stuff now you've got your personal uh sample library I created here the stuff um my job was like uh programming the the drums and and and make them fat and everything and then took in his little parts his little crazy ideas and create like one idea I I remember that we had yes because I remember that um we had like a project he was sending the project to me was with just like um a very um simple drum um loop and he had the and the track itself felt like three tracks it was way too much it had like I don't know 200 or 250 audio tracks oh wow and it was like this is way too much you know we can create three tracks out of this out of this and in the very beginning we are talking about like 20 years ago something like this uh in the very beginning it was like most of the time deleting or muting tracks you know the audio tracks because no that's too much that's too much this is fighting with the same frequencies this is too much this is too much click click click mute mute mute and then okay this is like a core good idea and now we can build the stuff around that and we need now a uh a big drum um we need a big drum uh set and then I created the drums and then put it all together mixed it down and make some tweaks here and there um and then the track was done this is something we did like 20 years ago and nowadays it's like um both of us are writing music separately and some ideas which we think are good enough we are um keep going I have got like all the zombie cats tracks the the the all the final zombie cats tracks are here and and and in my studio and basically I'm creating uh one fat um um if I started the idea I will keep going and then I will ask Ross for instance for uh have you got like uh a bass break I call this a bass break if uh the end of the pattern it needs like a big um um different bass uh sound to to to stick out and then Ross will do that you know and then he's sending me back the uh the the sample and I will put it in and I will make that everything will happen that everything's fitting together and um then sometimes I uh create the intro most of the time he's creating the intro then I have to delete a lot of sounds uh again like 20 years ago the same still the same sometimes that uh he's doing too much sounds then I will delete them uh maybe add something here and there and uh then in the end I will mix it down and uh the track is done and sometimes if Ross is starting something uh he's sending me um the idea and then because he he is writing a lot of ideas we see he's got he's got like this this sessions that he uh will say he's writing three ideas on one day and then we prior prior priorize them uh for instance like okay this is good this is medium I I wouldn't say this is bad but maybe this is nothing for now and then um if we got like an have got like an idea uh I would rate the the the clips from one to ten and all the tracks which are round eight we are keep going you know that this is something we like and uh we've got so many ideas here it's uh it's unbelievable I mean uh we can I don't know three hundred tracks or something like this we can finish yeah but it's all tracks around six or seven oh gosh six seven and uh that that is they have wow I didn't think that memes like that travel all around the world yes totally totally you said that you said six seven before and you didn't say anything about it so I was like okay he didn't think what I was thinking yeah yeah I was like I I mean yeah um ideas which I rate within six or maybe within seven uh which uh are something which we um yeah we can re-open this book and and uh work with them but basically in the meantime Ross wrote another uh idea which is like an eight or something like this and um also nowadays we've got I'm I'm happy that we've got a like a very great peer group of friends who are producing also uh like Nimian great guy we are writing a lot of remixes with him and we also have to to write more original work with him because it's it's time we've got so many ideas he's a super talented and also a super humble person and um yeah this is basically the way we are working.
• 51:15
  SPEAKER_02: That's a good workflow that you guys got going on.
• 51:18
  SPEAKER_02: Very happy like you guys both do the due diligence.
• 51:22
  SPEAKER_01: Yeah I think maybe also which is really helping that we are not um arguing or discussing too much because then I I mean it needs if if you want to work with like for twenty plus years or something like this everyone has to know their yeah maybe their power or advantage what they can do better.
• 51:54
  SPEAKER_01: I mean I would say that I'm way more into the technical aspect like mixing down and everything or make create same thing or get the sound fat and and crisp and uh I would say from the musical aspect of Ross is way better than myself you know I'm I'm I'm I'm I'm doing this on my own you know like I was not able to to um play an instrument Ross has got like a musical background he was playing in a band and everything like this so I mean I wouldn't say that you have to be yeah that you has you have to have a musical background to write drum and bass but it's it's like a pr it's something which can help you to create something more musical and more I don't know maybe more fascinating well for me it's more fascinating because if I writing music basic most of the time it's like especially in drum and bass maybe the bass length around three notes or something like this.
• 52:57
  SPEAKER_01: Yeah it's working of course it's it's uh club music but if you want like a very um yeah I don't know uh an an intro which which uh has got like a cool piano um uh chord progression then of course it's it's helpful that that Ross can do that you know yeah yeah so you take care a lot of the mixing and mastering and the techno aspect of it yes yes and the drums and the drums and the drums specifically the drums because I want to ask about those drums uh yeah let's do it is there any secret sauce that you want to give out on how to get some hard hitting fat drums when mixing yeah yeah basically the back in the days the secret sauce was always that I was uh resampling the drums over and over uh again like and always with a different um compression setting and then from all this different um I mean basically maybe I have to explain it a little bit more detailed you have got like a drum loop and then you put different compressor settings on it and um every time you um export this drums and then you um cut those drums in little pieces and just take um for instance just the kick just the the just the snare just one hiat here and there from all these different um exports you did you know so basically you have the same drum drums you have got one drum loop but it always sounds a little bit um different because of your different compressor settings and basic so yeah this is like uh something which what also Matthews uh was doing back in the days oh I'm not sure if he's doing this uh still doing this but um we did this um without knowing that we are working the same way um I found out this uh technique on my own when I was um trying to get as loud as noisier uh back in the days like how I do uh did that and I was so frustrated that I just copied the the same drums which are like with the the drums which I had on my track already I just copied them to get it louder which is a totally different totally um stupid idea because you basically uh if you if you double the amount you get it gets it gets distorted maybe it gets phased out or something like this uh it's not a very good I technique but what I did then was like putting different compressors and a little bit um uh EQ settings on it and basically without knowing I um created parallel compression or it's also called New York compression and I was not uh aware of that I didn't I I was not um knowing that those uh techniques already uh existing and I was like oh this is working it's not it's not um clipping it's not distorting and still it has got if it feels fuller and everything like that maybe I can uh do this also and work on the beats and do something with this technique here and yeah and later on years later when I was sitting with uh Matthews in the studio he um we were checking out some ideas here and there and I saw that he had so many um only drum um projects and the the the drums itself were like exported many many times with different settings and I was like asking this are you doing the same like taking out uh working with the same uh drum loop and just um have got like different compressions and he said yeah yeah I love that blah and most of the time he was doing it on his old notebook because um only writing um he was only writing on the notebook just for drums you know he had like this old notebook only for drums because otherwise the notebook would crash if he was writing a track on it and uh so basically he was just playing around with drums and in compressor settings and export them and then took it to his uh studio yeah long time ago this oh sorry can see yeah it was like uh the the thing I'm talking about right now was uh 2013 I think or 2014 yeah when I was sitting with Matthews in the studio and uh nowadays I'm pretty sure he will write different because now also the the notebooks and computers and everything have got way more power and everything so uh nowadays you you you you work with uh serum also as a drum uh drum machine that you uh use like um the sound of serum to get like great transients or also the snare or something like this and um this is like a different it's a today the sounds are way more clean but sometimes I also miss the character of the of the sounds you know because everything is so clean and crisp and heavy but it's kind of the sometimes the dirt makes it more interesting you know maybe you know what I mean like the grittiness of it the grittiness exactly exactly yeah and do you apply those methods to like the tracks that you work on now um I mean if if we are talking about this right now I think I will do that to see if this is uh something which is creating uh like a more interesting sound is uh it's an is interesting idea I was not thinking about this for a long time now and nowadays like I said is um basically that you're uh working with serum itself like to create the sounds and of course what we are doing is like of course you have to you have to um be on the same sound design level like the other people like your peer group you know so this makes it a little bit more hard um to go back and use drums from the past you know basically yes you can use um old school brakes and everything for the build up or for the breakdown or something like this but if you're talking about the um the drop itself uh all the drums are from from synths nowadays you know oh okay yeah yeah all right this is all from serum and and um yeah this is it that's so sick I didn't think that I know now with all these times and the changing of methods from now synthesizing drums yes yeah control everything yeah I mean one person which uh is extremely good and that is uh current value you know I'm I'm not sure if you know him he is uh he's like really great in creating um tracks only in one synthesizer you know current value is uh oh current value yeah yeah he's super talented yeah he's super talented and I saw that he was creating tracks from only serum all the drums from serum all the synthesizers all the baseline work everything from serum and it sound it it sounds super clean extremely clean extremely loud and um that's basically the direction which most of the people are going but he put he took it to the extreme you know because he was just using um serum all for everything you know but nowadays I would say okay people are uh creating maybe the kick and the snare uh with serum or maybe with something else maybe um what is this um what is this uh syn drama um from native instrument let me see uh sometimes I'm bad with um I think it's going to kick us out uh one more time again um is it studio drama oh I um addictive drums addictive drums yeah that's what that was the one yeah Ross is also using addictive drums and um yeah I mean it's easier nowadays to get to get like big drums and um yeah talk about current value he he uh really uh nailed it with just oh I think it's gonna kick us out hold on so continuing with um current value and how he does everything inside of serum yes yes yes um I don't know what was the original question to be honest um talking about drums or stuff like this oh yeah getting drums fat and then we spoke on the method yes yes I mean nowadays the synthesizers itself sound already very very big and fat so I would say that's easier for people who are like not so into into drums like um yeah back in the days was like really really founding this the correct sample or when you're creating uh the drums with a synthesizer it was like tweaking tweaking tweaking resampling resampling getting the right um plug in some plugins back in the days were totally shit like they they're killing they were killing the sound nowadays also the production is way better uh talking about plugins and basically a lot of plugins are common and they are great sounding like the Fab filter guys and everything you can filter nice yes totally totally uh but back in the days there were like some some plugins which were like uh programmed badly and they destroyed your sound and you you didn't know what happened or they were sounding good but once you export the track they fucked it up you know like they were like I don't know killing your sound you know but this is like problem from way in the way back then back in the past you come a long way now yeah so we are approaching that time here and a question a very important question that I wanted to get in absolutely was if there's any advice that you have for any beginner producers out there that are making and wanting to make Truman based think it out there.
• 1:04:30
  SPEAKER_01: Yeah yeah this is this is a special one because uh back in the days I would know the answer and that would be produce produce always produce just and don't don't um stick with a loop or anything like this because you have to finish tracks this is the most important thing finish your track and um from every track you can learn something I saw I would say oh basically 90% of the people who starting producing are not were not able to to finish a track you know like to to to to fight through it and and make it done they were like just sticking to a loop I would say nowadays it's easier because these the the the whole arrangement the structure is way more short back in the days the tracks had like three six sometimes seven minutes length you know that's super long and it's it's not so easy to create a track from six to seven minutes um if you don't take no again yeah it's true but it's not so it's not so easy to to get someone entertained for six minutes and Um sometimes seven.
• 1:06:01
  SPEAKER_01: Um to if if you don't know how, because you have to to uh create way more variations of something or add something here, uh take something away here and there and something like this, uh to to keep the uh listener entertained, you know, from if if the track is that long.
• 1:06:23
  SPEAKER_01: Nowadays some tracks have got like two minutes, 30 seconds, or something like this.
• 1:06:29
  SPEAKER_01: Uh so it's way easier, I would say, to finish tracks nowadays.
• 1:06:33
  SPEAKER_01: Basically, when you was writing a track back then, I'm talking about 20 years ago, uh, you have to write basically um yeah, three tracks, you know.
• 1:06:45
  SPEAKER_01: Three tracks and piece yourself.
• 1:06:47
  SPEAKER_01: But I would say the advice is still the same.
• 1:06:51
  SPEAKER_01: Finish your track, finish, finish it.
• 1:06:54
  SPEAKER_01: And um unfortunately, I would say if it's music business, then you have to be you have to know you have to have a concept how you want to present yourself.
• 1:07:12
  SPEAKER_01: If it's just music, yeah, I would say finish your track, stick to less uh synthesizers, stick to less plugins, because this is also a trap a lot of people are um yeah, uh which a trap which what uh people are doing is they're buying too much stuff and they don't use them, you know.
• 1:07:35
  SPEAKER_01: So if you if you limited yourself um to just a um yeah uh amount of 10 plugins or something like this, I would say that your creation will be better, but if you put too much stuff in it, it gets worse because you don't know your your stuff uh exactly how to to use it proper, and then it will sound I don't know, whatever, you know.
• 1:08:02
  SPEAKER_01: So yeah, this is my advice.
• 1:08:04
  SPEAKER_01: Finish tracks, less plugins, less synthesizers, stick to a couple of them, make a decision, and then you say for the next three months I will only use this synthesizer, and maybe then you can create magic like current value did you like with uh serum, you know.
• 1:08:23
  SPEAKER_01: Or zombie cat's magic.
• 1:08:25
  SPEAKER_01: Oh zombie cat's magic.
• 1:08:27
  SPEAKER_01: This means you have to use Harmer, the synthesizer, and um Avenger is also a good synthesizer, and Serum Serum, of course.
• 1:08:40
  SPEAKER_01: These are like the three three synthesizers we are using most of the time.
• 1:08:46
  SPEAKER_02: I have to write that down.
• 1:08:48
  SPEAKER_01: Yeah, I think Harmer is is is a a special a special one.
• 1:08:53
  SPEAKER_01: I don't think that I know any producer who's using Harmer, you know, this synth yeah.
• 1:09:01
  SPEAKER_01: I mean the other ones are I I know that Matthews, for instance, is using um Avenger.
• 1:09:07
  SPEAKER_01: It's not really a synthesizer, it's more like a sample player, I would say.
• 1:09:13
  SPEAKER_01: Uh and yeah, Steerum is not an oh yeah, I've never heard of the everyone.
• 1:09:18
  SPEAKER_01: Yeah.
• 1:09:20
  SPEAKER_01: I mean Harmer is the software synthesizer inside uh Fruity loops, so yeah, FL Studio, you know.
• 1:09:28
  SPEAKER_01: So maybe that's why not so many people are using this if they're not with Fruity loops, yeah.
• 1:09:34
  SPEAKER_01: See or Apple.
• 1:09:36
  SPEAKER_02: Well, thank you for asking.
• 1:09:37
  SPEAKER_02: Thank you, thank you for answering that question.
• 1:09:40
  SPEAKER_02: I'll still understand that you had some questions for me.
• 1:09:45
  SPEAKER_01: Yeah, yeah.
• 1:09:46
  SPEAKER_01: My first question we we were talking about in the in the beginning is like um drum and bass in America.
• 1:09:53
  SPEAKER_01: Is there's is uh where where is like the biggest spot for drum and bass in America?
• 1:10:00
  SPEAKER_01: What would you say?
• 1:10:02
  SPEAKER_02: For America, I'm from California, I've never left the state.
• 1:10:08
  SPEAKER_02: So in California, I'd say the biggest spots for drum and bass would be for sure the um the stages in San Bernardino for like where I saw N DC, but outside of festivals, I'd say you could see a lot of it in underground raves, like those illegal sewer sewer raves, and it's mostly a lot of dance floor and jump up.
• 1:10:35
  SPEAKER_02: There isn't a lot of neurofunk or jungle.
• 1:10:38
  SPEAKER_01: Yeah, do you know Diesel Boy?
• 1:10:40
  SPEAKER_01: Of course, yeah.
• 1:10:42
  SPEAKER_01: Alright, because he's also a person um who was uh very active back in the days, also like 20 or 30 years ago.
• 1:10:51
  SPEAKER_01: And I remixed him recently together with my friend Rory.
• 1:10:55
  SPEAKER_01: Like just for fun or for a track?
• 1:10:57
  SPEAKER_01: No, no, it's official on his label on um uh human imprint, the the Diesel Boy's label.
• 1:11:05
  SPEAKER_01: And if you if you check it out, it's Diesel Boy Angel Dust, I think is the name.
• 1:11:12
  SPEAKER_01: Uh yeah, Diesel Boy and Mark the Beast, Angel Dust, Zombie Cats and Eomion Remix.
• 1:11:18
  SPEAKER_01: Uh, was released last no, this year, in February.
• 1:11:24
  SPEAKER_01: Yeah, that was also cool.
• 1:11:26
  SPEAKER_01: It's part of the Legend Run.
• 1:11:28
  SPEAKER_01: That was Legend Run is like um the idea I had uh one year ago to just ask out of the blue uh producers I really like if uh I can remix them, and it was interesting because basically, basically everyone I was asking was answering and said, Yeah, let's go give it a try.
• 1:11:53
  SPEAKER_01: And I was remixing um AMC, uh Diesel Boy, um who else?
• 1:12:02
  SPEAKER_01: I'm remixing um drum sound and sign bass line Smith, um Chrissy Chris, um who else?
• 1:12:13
  SPEAKER_01: Right now I'm remixing again with um yeah Nimien uh AMC again um his latest album.
• 1:12:22
  SPEAKER_01: But uh this is like um brand new uh the idea.
• 1:12:27
  SPEAKER_01: We are not finishing other it's not finished or anything, we're just working on this.
• 1:12:32
  SPEAKER_02: I guess some like um what's what's the word uh brainstorming an idea right now?
• 1:12:37
  SPEAKER_01: Yeah, yeah, exactly, exactly.
• 1:12:41
  SPEAKER_01: And um I was remixing TC also and pendulum.
• 1:12:48
  SPEAKER_01: Oh pendulum's a good one and oh who's noisier for sure.
• 1:12:55
  SPEAKER_01: Oh that's noisier.
• 1:12:56
  SPEAKER_01: The the noisier release is also it's it's released the tr the uh the remix I did for them.
• 1:13:03
  SPEAKER_01: And yeah, this is it, I think.
• 1:13:06
  SPEAKER_01: I I guess I I forgot someone, but but this is the ones I have in my mind yet.
• 1:13:12
  SPEAKER_01: Oh for sure for oh airglow.
• 1:13:15
  SPEAKER_01: He's also from America.
• 1:13:17
  SPEAKER_01: You know who?
• 1:13:20
  SPEAKER_01: Um I think it's it's called air gl he is called airglow.
• 1:13:26
  SPEAKER_01: He's from America, I'm very sure.
• 1:13:29
  SPEAKER_01: He's um from LA.
• 1:13:35
  SPEAKER_02: Oh, I see airglow.
• 1:13:37
  SPEAKER_02: Oh, yeah, I have not heard of airglow.
• 1:13:41
  SPEAKER_01: Oh okay, so great, great.
• 1:13:42
  SPEAKER_01: So you have got like a really cool drum and bass act from Los Angeles, and uh yeah, I remixed them also, and his uh remix AP.
• 1:13:55
  SPEAKER_01: There is a remix AP coming out in the next few months because he's now he just um I think a few days ago he he created a WhatsApp group with the people inside.
• 1:14:12
  SPEAKER_01: But I'm not allowed to say who's here, but I just opened them.
• 1:14:17
  SPEAKER_01: It's seven people inside this group, and it's called redirect Yeah, no, no, not this time.
• 1:14:24
  SPEAKER_01: Um I will leave the group now, so it's six and later it's seven again.
• 1:14:30
  SPEAKER_01: Um redirected remixes EP.
• 1:14:34
  SPEAKER_01: And yeah, there's also another guy from the States um Mob Tactics.
• 1:14:40
  SPEAKER_01: Do you know them?
• 1:14:41
  SPEAKER_02: That sounds familiar.
• 1:14:42
  SPEAKER_01: Yeah, he's also on on EatBrain and everything, uh, and also uh I think RAM recordings.
• 1:14:50
  SPEAKER_01: So yeah, this is uh from yeah, he's from LA, and I remixed him also.
• 1:14:58
  SPEAKER_01: It's part of a remix um EP coming out in the next month, and I think this is it from what I can recall.
• 1:15:07
  SPEAKER_01: I think so, yeah.
• 1:15:08
  SPEAKER_02: Yeah, so some good some good chunk of info right there.
• 1:15:11
  SPEAKER_02: Now um this is this episode is coming out on October 29th.
• 1:15:17
  SPEAKER_02: Did you want this segment that we've been talking about included in there?
• 1:15:22
  SPEAKER_01: Yeah, why not?
• 1:15:23
  SPEAKER_01: Sure.
• 1:15:23
  SPEAKER_01: Yeah, sure.
• 1:15:25
  SPEAKER_01: I mean, I I didn't say too much, I guess.
• 1:15:28
  SPEAKER_01: If there would be there is no secret in it.
• 1:15:33
  SPEAKER_01: And um, I mean I played the track already, and there are some some some videos uh yeah on the internet already, so there's not a problem.
• 1:15:43
  SPEAKER_02: Just looking out, they don't want to get you in trouble or anything.
• 1:15:46
  SPEAKER_01: No, well there's an ocean between us, so I won't be in trouble.
• 1:15:51
  SPEAKER_02: There is an ocean between us, yeah.
• 1:15:54
  SPEAKER_02: Well, absolutely, Reuven from Zombie Cats.
• 1:15:58
  SPEAKER_02: Thank you for coming on.
• 1:15:59
  SPEAKER_02: We have reached that time today.
• 1:16:01
  SPEAKER_02: Yes, it's an absolute honor.
• 1:16:03
  SPEAKER_02: We covered a lot of topics, a lot of questions of stories.
• 1:16:06
  SPEAKER_01: It was a big fun.
• 1:16:07
  SPEAKER_01: It felt like only a few minutes, if you ask me.
• 1:16:10
  SPEAKER_02: Time flies, time flies.
• 1:16:12
  SPEAKER_01: Time flies.
• 1:16:13
  SPEAKER_01: Thank you so much.
• 1:16:14
  SPEAKER_01: Of course.
• 1:16:15
  SPEAKER_02: All right, listeners.
• 1:16:16
  SPEAKER_01: Oh shoot, I dropped my phone.
• 1:16:18
  SPEAKER_01: Hopefully, we'll see each other in person at some day.
• 1:16:22
  SPEAKER_01: Hopefully, yeah, I'll go to Germany.
• 1:16:25
  SPEAKER_01: Yeah, or when I'm in in the States, maybe.
• 1:16:28
  SPEAKER_01: Fingers crossed.
• 1:16:29
  SPEAKER_01: Yeah, all right.
• 1:16:31
  SPEAKER_01: The drum and bass scene will grow in the states, that it gets bigger and bigger and bigger.
• 1:16:36
  SPEAKER_01: That would be my wish for today.
• 1:16:40
  SPEAKER_01: And uh, otherwise, I hope you enjoy zombie cats.
• 1:16:45
  SPEAKER_01: There's still a lot of things what we are working on.
• 1:16:49
  SPEAKER_01: There's also Nightbite, that's another project I'm working on with uh Nette.
• 1:16:54
  SPEAKER_01: She's a DJ and oh, I saw I saw some stuff about that.
• 1:16:58
  SPEAKER_01: Yeah, yeah.
• 1:16:59
  SPEAKER_01: This is another project I'm working on right now.
• 1:17:03
  SPEAKER_01: Um, the first track which will be released uh in five days, I think.
• 1:17:11
  SPEAKER_01: It's called not a little bit more on the 25th of uh September, it's a Friday, there will be the first official release of Nightbite called Changes, that is like a dance floor version and uh just for you London version, which is like uh uh dedication to the old sound which you can hear like the old breakbeat influence.
• 1:17:36
  SPEAKER_01: I have got splendid versions.
• 1:17:40
  SPEAKER_01: Yeah, this is coming next week, and there's also another project which is called Tech Dreams.
• 1:17:47
  SPEAKER_01: I do this with Ross, and tech dreams is the um the answer of the problem we were facing uh when NeuroFunk and basically Tech Step and Neurofunk was like when I'm talking about 2006, it was like one music, you know, like um and it it kind of splits into this modern style of neurofunk, which basically is eat brain mainly doing uh around 20 um 14, you know.
• 1:18:30
  SPEAKER_01: Then there was like a um like a new path, and the modern Eurofunk is totally different to the old NeuroFunk from 2006 and 7 or something like this and seven.
• 1:18:43
  SPEAKER_01: Um so we created this new project called Tech Dreams, uh, only to um create music with a modern approach, but with the vibe from the 2000s um early 2000s, you know, because this is the sound which uh got us into drum and bass, uh like which is like this is like the pure love for drum and bass, you know.
• 1:19:16
  SPEAKER_01: And um the modern Eurofunk is of of course amazing, especially live on a party, has so much energy.
• 1:19:25
  SPEAKER_01: But I would never listen to to this kind of music just to listen to it, you know.
• 1:19:31
  SPEAKER_01: This is like really party music for me mainly.
• 1:19:35
  SPEAKER_01: Uh the modern Eurofunk, and of course, and of course, I'm listening to it when I'm producing it.
• 1:19:42
  SPEAKER_01: But the text tech step or tech dreams sound, I can just listen to it at home, also, you know, because it's way more laid back, it's more deep drum and bass influences and everything, and this is uh something what we are also doing.
• 1:20:00
  SPEAKER_01: And the the the the big um the big uh good thing about is about uh that is when we are writing tech dreams music, like the deep drum and bass thing and everything, and we we finish the track, we have way more motivation for the modern Eurofunk, you know, because now we have this balance.
• 1:20:26
  SPEAKER_01: We we don't have to always be super loudy and noise.
• 1:20:30
  SPEAKER_01: And at some point when you're writing like 10 tracks, no noise, hard hitting, noise, hard hitting, it gets a little bit um how can I say that repetitive, you know, and you get a little bit less ideas, and and this is something what we never want.
• 1:20:49
  SPEAKER_01: We always want something to to keep it fresh, and this different these different projects, nightbite, tech dreams, and now zombie cats, is helping us to find a great balance, you know.
• 1:21:02
  SPEAKER_01: We can write everything, and then we just have to put the right track to the right project, and this is perfect.
• 1:21:10
  SPEAKER_01: I love it because we're also not um um irritating our listeners anymore because with zombie cats we did a lot, we also wrote hip-hop during the pandemic with uh zombie cats.
• 1:21:24
  SPEAKER_01: So basically, there was like a time nobody knew what we what we are doing with zombie cats.
• 1:21:28
  SPEAKER_01: Is it now a hip-hop track?
• 1:21:30
  SPEAKER_01: Uh or is it like a drum and bass track?
• 1:21:33
  SPEAKER_01: So, but this is the past.
• 1:21:35
  SPEAKER_01: Zombie cats, you can always expect tracks like Gozer, and if you want to have it like a little more dance floor um pop influence, then you go to nightbite, and if you want to have like this really deep, yeah, deep tech feeling, you go to tech dreams, and then yeah, splendid, splendid to have that out there.
• 1:22:00
  SPEAKER_01: Pretty long last words for the interview.
• 1:22:03
  SPEAKER_02: They gotta keep the the best words for the last words, yeah.
• 1:22:06
  SPEAKER_01: Perfect, of course.
• 1:22:08
  SPEAKER_02: All right, guys.
• 1:22:08
  SPEAKER_02: Well, thank you.
• 1:22:09
  SPEAKER_02: Oh, we've been uh if you don't mind for about five more minutes, I have like a couple questions to ask you after the podcast.
• 1:22:15
  SPEAKER_02: Yes, okay.
• 1:22:16
  SPEAKER_02: All right, well, thank you for listening in today, guys, on this week's episode, and I hope to catch you on the next one.
• 1:22:22
  SPEAKER_02: Bye bye.
• 1:22:23
  SPEAKER_02: Perfect, see ya guys.
• 1:22:26
  SPEAKER_02: Bye.