- Ministry of Sound Presents: Annual 2004
- A State of Trance 2006
- A State of Trance 2007
- A State of Trance 2008
Saturday, July 26, 2014
Saturday, May 24, 2014
Cross Tempos: From your bio I’ve read your early influences stem from some of the harder styles of Techno & House music. My knowledge of those genres tends to be high energy, high beats per minute. If I recall correctly Nation of Sheep was produced at 128 BPM, which happens to be a very versatile range. What was the deciding factor on the BPM?
Norman: It is a tricky question though. Every time I start a project, there is no particular concept behind of it, unless it is a remix of course. Nevertheless, it always depends on my mood whether if I work on a slower, more modern sounding track or if I go for speedier stuff. I reckon every producer works the same way. Speaking of “Nation of Sheep” the main factor of choosing a 128 BPM must have been the fact that the other artists’ tracks appearing on the same EP have the same sort of speed, and if I would’ve come up with something faster, it would have lolled out from the rest, hence it may have failed to deliver the overall message to the audience we’ve planned getting to.
Cross Tempos: Tell us about your next releases, I’ve heard it will be harder and faster. Might this be a tribute to your earlier influences, or could we anticipate a flurry of hard banging track releases?
Norman: Thankfully I’ve got a lot of releases coming up this year on several known labels, so I really don’t know which one to mention. It is a bit off the subject, but as you may have noticed, my artist name includes two aliases which I run parallel, hence requires even more effort. When I’m producing as Norman Andretti, the result will be around 137-140 BPM including a variety of heavy kicks, complex tribal loops, artificial stabs, melodies and so on. Sometimes I’m not afraid to bring elements of e.g. Tech-Trance to Hardgroove or Funkytechno. But my “Quarill” projects are totally the opposite of what I just said. Their tempo doesn’t go beyond 130 BPM for House related stuffs. I often use samples from classic funk tunes from the 70’s, 80’s, and I like to combine them with jackin’ [house] loops and sometimes lively slapped guitar basslines. When the time/weather/mood is right for modern Techno, I must say I have to forget about everything of any other styles, because that is the most fragile from all. Speaking of which, nowadays the Techno profession is very thin, everyone seems to find it the best path towards fame, but on the other hand it’s very difficult to make something outstanding…and that’s what I’m working on hard. To sum it all up, if you look back to any of my previously released tracks, one track is always completely different from another.
Cross Tempos: Focusing onto your role of Management and A&R, tell us a bit about what you may looking for in terms of style and direction of your label Corrupted Data Recordings.
Norman: Corrupted Data is a traditional label, and was established in 2006. Since then the Techno [genre] has gone through several alterations. My partners and I in management are still trying to keep this faster, more old-school sound alive, including the Funk and Groove based styles. Despite what whatever happens to popular today in the current market, we believe that there is still remains many highly talented [producers] out there. On the other hand, we refuse to sit and watch while this genre fades away. This is what we've grown with, and has influenced us, so this is where we belong. There are only a few labels left releasing this type of Techno, and we are proud to be one of them. Although we feel this way, we are aware that we may not get far by keeping things the same. If we as a label want to stay on the market, at some points we have to start following the newer generations interests and taste. To answer your question, our profile is Hardgroove and Funkytechno at least for the rest of the year. Then we will see.
Cross Tempos: I see you that your workstation of choice is FL Studio. It’s mine too! What words of wisdom would you give aspiring producers looking to make their first label release?
Norman: First rule is not to start producing right away just because you think you can do it. Of course you need a big portion of courage but that comes in later. A few years of research is mandatory to define yourself and discover what artists you want to model yourself after, I'm not saying copy, but to rather find inspiration into your music. [Today] there are way too many DJs and producers doing exactly that [imitating one another], especially in Techno. Just being another one of them is pointless. All to often, I have that Facepalm moment when listening to new [track] releases. I'm shifting and sorting through a hundred tracks just to spot maybe 5 playable ones…that's ridiculous. My other advice is to watch several tutorials (released by proper studios) to achieve that certain sound and quality you're looking for. Also some good luck…you'll need that too. ;)
Cross Tempos: I have to ask, what are your thoughts about Techno/Tech-House scene in Hungary in regards to growth, movement, and influences? Is it something that is growing or still in the underground, or is there crossover into other genres like Electro House, Trance, and Hardstyle.
Norman: The current status in Hungary is disastrous, and not just because mainstream [EDM] is storming. The Hungarian [Techno] community and scene is poor at supporting each-other or even sometimes just tolerating one another. Envy and selfishness has grown enormously. Promoters are no longer interested in giving a chance to new talents, caring only about profits (although that is somewhat understandable). Promoters line up the same big names weekend after weekend, simply to draw in large audiences and play for the masses. Venue owners seem either oblivious or indifferent about which big name is playing. Let alone care about who may be the best. It seems there is a growing trend in Hungary, where you face the possibility of having more DJs than the crowd very soon…and I'm not even joking. Personally, I would rather go play live beyond Hungary's borders like I have in the past. There are clear agreements and expectations between the promoter and the artist and things like expenses and compensation are defined. Additionally while being abroad as an artist, you stand a good probability the people in the crowd will recognize you, because they admire you and acknowledge of what you have already put on the table, which seems unlikely in Hungary. I believe these negatives contribute to the existing Hungarian club scene's opinion in terms of what demanding music is. Considering how small this country is, the peoples view on it, is very diversified. I do eagerly hope that it will change eventually and I am happy do whatever needs to be done to make it happen.
Cross Tempos: Thank you Norman for your time and input, we look forward to your upcoming releases on Beatport and TrackitDown.
You may catch Quarill/Norman Andretti's previews and latest track releases at his SoundCloud page.
Tuesday, May 13, 2014
When I sit down and talk about House music today, it becomes painfully obvious of my youth and ignorance. I just might NOT have an actual Effing clue what I am talking about when I say "House music."
To my defense, I'll claim my age as an excuse for ignorance (born in '86). Childhood sheltering prevented me from even understanding and comprehending what was going in Detroit or New York during that time. However there are no excuses for ignorance today, not with resources such as YouTube, and Wikipedia. With every genre a new wave and era comes with a new generation and what we call House music today.
Thankfully, there are a few individuals out there that stay true to the roots yet continue to create nostalgic yet original House music. One artist in particular happens to hail from town called Springfield, Illinois. Close to enough to hear the influences of Chicago, yet far enough to develop a unique sound. I'm talking about Dirty Bird Records very own featured artist, J. Phlip.
I want to highlight the February 4th, 2014 release track release of J. Phlip - Say My Name. The original mix kicks off quickly with a tech-house 4 beat loop and pronounced snare. This first minute has that funky signature minimal tech-house sound I've come to grown fond of from Dirty Bird Records. What comes next is what defines Chicago's flavor of House music, that squelched TB-303 synthesizer bassline, also known as Acid House. J. Phlip delivers a fresh but nostalgic twist of acid house on her original mix. A great track, but I just couldn't quite put my finger on it. In fact this track was almost lost on me, as I was not able to fully appreciate it. Thankfully, San Francisco's native Aidan Chambers helped with that. His remix provided that bridge for my current tastes of today's house music to that of 1985. A remastered bass kick provided that extra big room feel to J. Philp's original mix, and just the right amount omph to make this a club ready track and staple to my setlist.
Let me kick off this piece by saying Weddings are fantastic. Suppose you are an upcoming Disc Jockey looking for work in the music entertainment business. In that case, Business is good, really good in fact. Today's cost of entry has never been cheaper for mobile DJs. I've recently discovered a service called Thumbtack that provides great leads for DJs looking for gigs. It's much better than going it the hard way and spending hundreds to thousands of dollars on websites, advertisement. After a few gigs, you should make a return on investment on your initial hardware purchases.
Before we go further on the benefits of being a mobile/wedding DJ, I ask that you take a moment to understand where I come from. The Art of mixing records and the technology behind it was fascinating at an early age to me. I essentially became a DJ when I bought my first controller, A Hercules RMX, in 2011. The rest is history. I became a highly successfully globe-trotting success overnight, playing to thousands of screaming fans. Sounds like "bullshit," right? Well, that's because it is.
I spent the years of 2011 and 2012 playing to almost anyone who would give me the time of day to spin records; Mom's backyard, friend's basement. Anywhere I could play my favorite tunes of the week. Many thanks to all the friends and family for those moments. Looking back retrospectively, I was pretty awful. Sure, I did my research and followed websites like Digital DJ Tips and DJ Tech Tools religiously. I downloaded the Beatport Top 10 and the Top 40 Billboard Chart, yet my set was still terrible. During those formative years, I wanted desperately to play somewhere, anywhere, yet disappointment set in quickly and often. Something had to change, I thought to myself, perhaps my mixing is terrible, well it was. Going back to the bedroom, I practiced and self-studied music theory. Learning a few things along the way, it was not just how well I could blend two tracks together. It mattered which tracks I drop and when.
One day I was faced with a dilemma. Is my drive to play for a crowd the most crucial reason to DJ for me? Someone offered me to DJ a wedding. Here's the paid opportunity I was waiting for! Or was it? The theme and music format of the event was American Country Music.
Oh Sweet Mother of Jesus...
I just spent around two years' worth of building a library of Trance & Electro House music. There was just no way I was ready to spin country music. How does one even mix country music? The answer is you don't. Play one track after another and quick radio fade, something an iPod can do. Due to my inexperience or perhaps poor communication, the gig fell through, and another DJ replaced me, Bummer, or so I thought.
This setback turned out to be a significant experience. Discovering the answer to my earlier question was absolute. I do care what I play. Therefore what I play is more important than just finding a place to spin records. Time did not stand still, and I had to move on. Experimenting with a broader spectrum of music, I found myself and the music I wish to present. I was no longer shackled to playing for generic mainstream crowds. Finally, I discovered myself in terms of tastes, likes, and most importantly, music appreciation.
Therefore, I have resolved to leave weddings to the mobile entrepreneurs. They can appreciate or at least tolerate a comprehensive format of hip-hop, country, pop-rock, and mainstream dance music. At the end of the day, it is a business that takes hard work and dedication. For me, however, much of the spark and fun of DJ'ing a wedding is left out. Getting on the Microphone and being a good Master of Ceremonies has much more value than mastery of special effects and four-deck mixing. A good wedding DJ is defined by how much fun the client experiences (the wedding party) AND how much fun the DJ does too.
As for myself, I still continue to spin my own sets and play for the fun and appreciation of Electronic music. Tight blends, harmonics, track selection, and energy level management is just so much more important to me, than allowing for strange requests from the tipsy bridesmaid.
Edited: April 3, 2021 for grammar and clarity.
Update: For those wishing to following my music. Please visit my artist portal at
Thursday, May 8, 2014
The list goes on, but let's get to our roots here. Techno? yes Techno. Detroit is the first location on the list, after all the Movement Electronic Music Festival in Detroit is one of the greatest Techno festivals in the world. Period. Everything Detroit aside, my second choice and perceived Mecca of Techno, Hard Techno, Tech-House, and Minimal would arguably be Germany. Dozens of Berlin based Techno DJ's dominate the European club circuit, and for good reason, but here is the part where I tell you my stereotypical views have been challenged.
I've somehow managed to overlook Hungary. I know, I'll have to answer to my girlfriend on that later. Especially after having the opportunity to experience the Budapest techno nightlife firsthand, but don't take my word for it. A prime example is the annual Bonusz Electronic Music Festival whose 2013 line up featured a talented roster of Techno DJ's like Derrick May, Dubfire, Mark Knight, and Ida Engberg. You might say sure there were other EDM or non techno exclusive A-list artists at Bonusz too, but this is where I tell you take a closer look at the flyer. Whom did you see as the Headliner? Is it your typical Trap, Trance, or Electro House artist there? The answer is no, headlining last year was none other Techno legend, Carl Cox.
Fast Forwarding to today, I found myself channel surfing through DI.FM, checking out new artists, and enjoying new tunes. Nothing really stood out or struck my fancy, that is until I tuned into the Techno station and landed upon this gem, Quarill - Nation of Sheep. Needless to say this track immediately got my attention like a needle drop on a vinyl record. I just had to Google this track and fast. Upon finding the Beatport release on the label Keep on Techno Records it was refreshing to learn this EP was produced by an exclusive roster of Hungarian artists, none of which I had ever heard of before. After giving the whole EP a listen to, twice. I just had to add it to my shopping cart. This whole experience has taught my a very valuable lesson.
The Huns are coming.
Tuesday, February 18, 2014
Sample Code explained:
1) Logins into SoundCloud with a Developer app Credentials (I removed my login information for security purposes, feel free to register for your own credentials)
2) Display who is logged in as.
- Genre: Ambient
- Return 50 Results
- Track is set to Downloadable (Determined by artist)
- Tracks between 3-10 minutes (In order to eliminate DJ sets, podcasts, and previews)
- Playback Over 250 in order to find popular tracks worth listening to.