Two thirds of the Belville three discuss their latest project with us.
Derrick May and Juan Atkins, members of Detroit techno’s legendary founders’ committee, the Belleville Three, are in London this weekend to play alongside one another. It doesn’t happen all that much these days, this powerful meeting of electronic minds, such are May and Atkins’ furiously busy solo careers. Despite their continued frenetic pace of life, Defected’s Ben Lovett found time to pin both down for a chat about their latest endeavours.
The occasion that has brought these two pioneers together is Lost which, co-curated by veteran UK DJ Steve Bicknell and partner Sheree Rashit, has been in operation for over two decades now and, over that time, built up a fearsome global reputation for techno and minimal electronic excellence. How much is the pair looking forward to it?
“I think it was one of the first parties I ever played in London, all those years ago” Atkins opens. “Steve and Sheree put me up at their house; they were totally committed to finding and supporting the best talent, and sharing it with others. Lost is always great, it’s scarily consistent. This time round I get to play with my good colleague Derrick so, yes, that will be great, but we do still enjoy some friendly competition.”
May adds: “It’s Juan and I’s old stomping ground. It will be fun to catch up with old friends but let’s make it clear we’re there to play other people’s records, this isn’t a ground-breaking live performance. The onus will be on DJ technique and track selection, as well as just having fun.”
Lost takes place on Saturday, at south London space Area, featuring May, Atkins and Bicknell in the ‘red’ zone; Detroit’s Kyle Hall and Chicago’s Tevo Howard in the more house-orientated ‘blue’ zone; and, finally, Basic Channel’s Mark Ernestus in the ‘purple’ zone; a patch where everything from dub-tech to experimental bass goes. That’s a hugely impressive line-up, consistent with Lost’s many previous events, but is astute booking the only factor behind the night’s success?
“The people playing are important but Lost is a unique place where young kids will dance alongside old men, embracing the legacy of house and techno music, as well as looking forward to what comes next. You have to consider the performers, Steve and Sheree, the venues, the music, the atmosphere - all of it comes together and creates, in a word, magic.”
Atkins’ line is similar: “The crowds are always full of enthusiasts, they help dictate the mood. But then Lost has built itself up carefully over many years and worked hard to cultivate the right audience, the right music and right setting. I can’t think of another night that has booked so many Detroit artists; that, too, has helped to create this unique event. I can’t wait to play this weekend.”
But whilst Lost has a knowledgeable, deeply appreciative audience, many other clubs and nights have a far broader mix of revellers. In light of the BBC News website’s high-profile coverage this week of a major row between some of electronic dance music’s biggest players about whether or not pre-recorded performances are acceptable (the row, back in July, was sparked by video footage appearing to show Swedish House Mafia’s Steve Angello pressing ‘play’ on a pre-mixed section of a festival set) do Atkins and May worry that, outside of somewhere like Lost, people may view their on-stage, in-booth craft with suspicion? Is technology actually starting to undermine artistic credibility?
“There’s nothing you can do in a situation like this” Atkins sighs. “Technology definitely has a downside where electronic music is concerned, because in a club or at a concert it really is difficult to tell if something is being created there and then, or if it’s a pre-record. I can only say that it comes back to an artist’s technical skills, and the way in which they engage with technology to make their point to the audience; a talented few will survive and continue to engage. Personally, I work hard to stand out through what I do, and look at using things like musical instruments. The electronic scene shouldn’t forget about the instruments.”
May sees the electronic scene as one vast battleground. It is an analogy he has referenced for many years now: “I’m locked in battle with bad music. What do I mean by that? In terms of dance music, I’m thinking of the young individuals who pursue their careers with reckless abandon. It’s not their fault; they’re given little to work with and take advantage of that reality. Their music is bland and goes nowhere, and yet it opens up doors for them that it shouldn’t. There is a disturbing lack of responsibility; these kids are simply pushing buttons and clicking mice but there needs to be more – there needs to be an internal dialogue, a spark. Personality makes the music truly physical and powerful.
“Maybe that’s why people like Juan and I are still here, because we keep fighting against the system and pursue our own paths when we play or release music. If we’d have become commercial artists earlier in our careers then I’m not sure we’d have lasted. But do I worry about people thinking all I do is push buttons? No, it is what it is... I simply do my thing. Back when Juan and I released our first ever record [as X-Ray, 1986’s Let’s Go] we were uneducated and disenfranchised young men; we were fools...mere bugs on elephants. People heavily criticised the type of music we were trying to make; they weren’t interested in it and derided it. But we didn’t let that bother us and stuck to our plan. I have the same viewpoint now; I just do what I do and hope that, in turn, I can show the younger artists another side to music. I believe in cause and effect.”
Interestingly, May has not produced or released any of his own new music since 1993 such has been his disillusionment with the general health of the techno and wider electronic scenes over the years. Does he not feel that the studio might have helped him wage his creative war more effectively? Or that returning to it even now might make a difference?
“Well, I have realised that I’ve been sitting for too long on a number of tracks I recorded years ago and never released” May explains. “Slowly I’m putting myself into the position where I can start sharing some of these records.” Next month, May’s revered label Transmat will release a compilation album Beyond The Dance (named after his 1989 Rhythim Is Rhythim single) focused very much on new output from the imprint, as well as dusting off a previously unheard May production from the archives, Hand Over Hand.
“There are elements of old and new” May continues, “but I’ve avoided the big classics here; I want the focus to be forward-looking more than anything. Hand Over Hand is one of my favourite ever tracks so I’m excited to be releasing it at last. In terms of new, new material, I feel it best for me, musically, to develop like-minded artists through Transmat. I can win the battle but maybe not the war, so this strategy is a good one. I hope one day that I get that desire back to make new tracks but for now I’m enjoying the label and performing.”
Performing is Atkins’ biggest concern, presently. He is working on a new live show with his Model 500 band – an extension of his legendary Nineties studio alias founded alongside Underground Resistance’s Mike Banks in 2007. “We have keyboards and musicians in there with the electronics” he confirms. “It’s a lot of fun; we get together and re-visit the classics, but then we’re always updating things and working on new ideas. At the moment I’m working on the visual side of our show, a seamless blend of music and multimedia. This, and performance in general, is really important because of the decline in sales of music. Today, you can’t depend on the studio alone; artists need to accept that performance is fast becoming the main point of purchase.”
Of course, Atkins remains busy as both producer and label chief. Last November, he re-launched his own mighty techno imprint Metroplex with scintillating results. Early next year, Metroplex will release a new collaboration between Atkins and Basic Channel’s Ernestus, featuring Ricardo Villalobos on remix duties, and there are singles to go beyond that. “I can’t tell you anything more” he chuckles. “I need to keep ahead of the curve. But next summer people should expect a big audio-visual step-up which will properly change the game.”
The mind boggles. May too, it seems, is exploring the relationship between sound and image in finer detail. “I’ve always been interested in photography and am currently working on a book that will not only capture my musical journey to date but outline my perspective on music and life” he explains; “how life hits my eyes. There is much to reveal. At the same time, I always put time and effort into the artwork that accompanies releases on Transmat; it adds another level of stimulation.”
Both veterans, in the best sense of the word, can Atkins and May see themselves running and running? The electronic dance industry only gets feistier. “I don’t think about what motivates or deactivates me” May plainly responds. “I don’t know how to wake up and question what I do. I am what I am, music is in my DNA and so I exist. The wider scene is not at the ridiculing stage any longer. I think electronic music has survived and whilst there are so many bad things today that can force an artist into compromising their beliefs, the cream will always rise to the top. There is amazing music and artists yet to come.”
Does Atkins agree?: “There are no plans to wind down. I’m older but still stimulated. It feels like a good time to be pushing the envelope. Europe, in particular, is more open than ever and behind some particularly interesting new ideas. You just need to be prepared to sift through the thousands of tracks and artists that come at you these days to find the good stuff. Derrick’s right, we are in a battle but if you put the time and effort in then there are victories to be had. I’m optimistic about the future; it’s the duty of people like Derrick and I to try and advise the younger generations and put them onto the right creative paths. I still think we can.”
Words: Ben Lovett
Lost takes place November 24 at Area in Vauxhall, London. Visit www.lost.co.uk for ticket details. Transmat (US) releases compilation Beyond The Dance on December 15.
