How Cristoph has risen in stature? Newcastle’s next big thing – real name Chris Costigan - has actually played the dance game for well over 15 years now, initially working with his dad – a businessman in the bar and nightclub industry – to supplement post-University adventuring into DJ booths and studio consoles. The time eventually came, last summer, when the young Geordie's exploits were demanding full-time commitment and so Cristoph’s rise accelerated at blistering speed.
If Costigan’s early alias CJ Costigan, was anchored in progressive house, then Cristoph represents a richer, deep blend of house moods and tempos. And it’s bringing him some serious attention. Ever since the release of his mighty ‘Guffaz EP’ last February, subsequently signed to Defected’s sub-label DFTD, Cristoph has been on a role with fans and critics alike. Incisive remixes of Leendder, SecondCity, Tube & Berger and J.Cub (that epic, piano-powered switch-up of ‘Give You My Love’) have complimented roof-raising gigs at Booom Ibiza, ADE and UK staples Outbreak, EGG London, Warehouse LDN and Shindig.
Cristoph has also followed ‘Guffaz’ with more great original beats – subsequent releases on Underground Audio (‘Shelter’), Nordic Trax (‘Big H EP’), Extended Play (‘The Harry K EP’, with Manooz), Relux Underground (‘Ev’s Groove)’ and Noir (‘On The Inside’) have quickly built upon his early promise. The advancement of DFTD, meanwhile, owes much to successful Cristoph projects ‘Right Now’ and ‘Do To Me’, as well as his sprightly helming of debut label compilation DFTD VLM01. And still the material comes – fizzing additional tracks via Wasabi and Voltaire, and an edgy re-rub of AFFKT’s ‘Lost In Process’ for Suara this week. Cristoph really is on a roll....
Cristoph, you’re so busy – we’re sure to have missed something, so what else do you have coming up?
Yes, there is more on the way. Aside from that remix of AFFKT, there’s a remix due of Dave Seaman’s ‘Justified Replacement Of Lulu’ – I was praising the track on Twitter and then Dave came back and asked if I’d like to remix it. There are also remix projects planned for VIVa, PIAS [a new take on Junior Jack’s ‘E Samba’), Tube & Berger’s label Kittball and Noir. With Noir I’m also preparing a six-track mini-album. It’ll reflect what I play out but offer plenty of different angles. It should arrive next spring.
Back in the here and now tell us about the ongoing DFTD Club Tour:
It’s been brilliant. I actually didn’t expect the reaction to be so big; DTFD has a great base with Defected but it’s still very much up-and-coming. Every room for every night has been packed. The crowds have also been open to a lot of different sounds - more underground tracks and even techno. The recent date at XOYO in London was amazing...rammed from start to finish.
You must be looking forward to playing Defected In The House’s NYE bash at Ministry?
Massively. The last time I was there for Defected In The House was with Nic Fanciulli [June] and the atmosphere was incredible. I can’t wait.
Remind us of how the Defected connection came about Cristoph?
I tweeted Hot Since 82 about ‘Guffaz’ early last year, back when his Twitter page only had a few thousand followers and it was easier for him to reply to people. He got back to me and started playing the track, which lead to interest from Moda and then Underground Audio’s founder Kal [Jhugroo]. The track had a vocal sample from Defected, so Kal [also now Cristoph’s manager] started chatting to them and then, before I know it, we’re talking about a DFTD release. I’d been following Defected for years, buying all their early vinyl releases, so to be suddenly releasing on the label myself was ridiculous. It’s still ridiculous now...incredible....
Your rise and that of DFTD are closely linked – how do you think you’ve evolved since ‘Guffaz’?
Defected is a huge family, they’ve really helped me learn the business side of things. The industry is very political and it’s often about who you know. Defected has helped me access the right shows and meet the right people but it’s done that without trying to mould me or my sound. That’s really important. No-one wants to see a DJ looking like a smacked arse because they’re being told to play certain records or behave a certain way. I don’t want people to have a false perception of me; I want to represent myself truthfully.
How has your music evolved over the past 18 months or so?
When I started out I had more of a bass-driven sound, which probably came from my background in progressive house. Today, I’m blending lots of ideas. I really enjoy writing and that could be something melodic or bass-y, or even a techno track. What I really love is that people are telling me they are hearing a Cristoph sound. I don’t recognise that sound myself, perhaps because I’m so close to making the tracks. But I love the fact that despite the wide variety of tracks I’m producing people can hear a common element running through all of them. It’s this that helps you standout.
Talking of standout, do you get confused with Bristolian groove-ster Christophe?
I do! It doesn’t help that phones and computers always auto-correct the spelling of my name! There’s a trance DJ with more or less the same name too – that one ends with an ‘f’ - and a ‘Christophe!’ Skream actually texted me last fortnight because he thought I was in Belgium like him – he sent me a photo of a local flyer but it was ‘Christophe!’ playing not me. It’s fine. I’ve been called Cristoph since I was little and I wanted to go back to that after CJ Costigan because it was a return to my roots growing up on Chicago house. I get mistaken for the others sometimes but we’re all in separate [musical] spaces so there’s no real conflict.
So you feel confident about being able to standout?
I really do. I actually enjoy seeing all these new artists coming through; it prevents me from becoming complacent. It makes me work harder knowing that there are other equally talented people alongside me who could take my position away in an instant. Talent here is vital but so is personality. Sam [Holt] from Copyright told me once how important it is to eat with the promoters before gigs and head to the after-parties with them later on no matter how tired you are. That’s good advice that I’ve followed. Sometimes, I’ve offered to jump on the decks at an afterparty as a favour. There’s a lot you have to consider as an artist these days, you need to look after your networks as much as the music.
You’re playing your home city this weekend – what kind of a scene does Newcastle have these days?
I’m rounding off a tour supporting ‘Do To Me’ and it sounds like the city is really hyped up which is great. Newcastle has some really great parties but sadly not enough of them. Since the recession things have gotten into a pretty shocking state really. I grew up on awesome nights like Shindig but they only throw a few events each year now. I think the local council makes things particularly difficult too. To be honest, Newcastle has a major commercial focus. A lot of promoters here are afraid to take the risks that promoters might do in other cities. They’re money-driven; they’ll play pop and R&B because that’s what people want and what sells. To be fair, this lets me stay in a lot more. There’s not much locally I want to go out for so I tend to spend more time in the studio making tracks.
What are your long-term goals?
I just want to keep climbing the ladder. I enjoy setting myself difficult targets and the satisfaction when I reach them. In time, I’d like to do the whole record label ownership thing but for now it’s about working even harder on my next releases and gigs. My music is uplifting peak-time music - it’s about trying to create drama and euphoria. This makes me really happy. When I left university I was quite content to DJ here and there but then I stepped back and realised that a career in music was what I had always dreamed of...that I needed to do much more to really solidify a career. At the same time, one of my best friends died and that gave me a further kick up the arse to focus and make more of my life – it could have been anyone. Today, I’m grateful for where I am and will keep working hard to climb higher.
Finally... plans for Christmas?
I have seven nephews and two nieces so my family will keep me busy! Beyond that I wouldn’t mind some new plug-ins and hardware under the tree. I should point out that next month I’ll be launching the 12 Days Of Cristoph online – it’s a seasonal thank you to the listeners and I’ll be offering things like a free track each day. We’re finalising plans as we speak so watch this space....
Cristoph plays for Defected In The House at Ministry of Sound this New Year's Eve (tickets here) and is currently part of the DFTD Club Tour – next stop In:Motion, Bristol on 15 November. Head to http://defected.com/news/dftd-tour-clubs/ for more info.
