The 48th podcast in our ongoing sequence was recorded by fast rising Dutch producer Mulder, who’s just released his second record on Defected sister label DTFD. The classically-trained-percussionist-turned-producer comes up with a highly spheric podcast that features contributions from the likes of Deetron, Chaim, Trevino and Guillaume and the Coutu Dumonts, with some of his own work thrown in for good measure.
“I’ve always had a heightened interest in music so it came naturally to explore it more. I remember always listening to each instrument in a track and what they were playing exactly. This just evolved and I used it in playing percussion and eventually in making my own tracks. I think I was 15 when I stopped playing soccer and just focused on rehearsing with the orchestra I was with. I also joined a percussion group. I really enjoyed it and eventually that led to me going to the Conservatory where I studied percussion for a while and the Rock Academy after that where I studied music production.”
How does a classically trained percussionist get involved in electronic music?
“When I was about fifteen I already had some years of musical training behind me. First I played the cornet and then I went on playing percussion. Around the same time I heard some local guys from my neighbourhood play hardcore electronic music and I was immediately hooked on the repetitive character. From then on I started focussing more on that kind of music. Later my taste developed more towards house and techno. An important moment for me was when I heard Funk D’Void’s ‘Diabla’ being played by Sasha at Dance Valley in 2001. Later that day I saw Carl Cox play and that really blew me away.”
You admire avantgarde classical composers like Terry Riley and Steve Reich and modern electronic music pioneers Tangerine Dream. How do these giants of modern music influence the way you approach your music?
“When I studied classical percussion, Steve Reich played a huge role. He has written some great music for percussion. We played pieces like ‘Nagoya Marimbas’, ‘Piano Phase’ and ‘Drumming and Clapping Music’. Terry Riley’s ‘In C’ is also a great example. The gradual changes can get you in a trance-like state, just like a good DJ-set can. I also really like that they take time to build up patterns slowly.”
“To be honest I get influenced by all kinds of music, but I think Steve Reich’s music especially can be really similar to techno.”
“Last year I released the ‘Seven EP’ together with Michel de Hey. As you know Michel has been around for many years now so he knows a lot of people. He contacted Defected head honcho Simon Dunmore, who was really interested in releasing three tracks we made. This year I sent Simon some solo tracks and he really liked them, which led to me releasing the ‘Spectre EP’ on DFTD. At the end of june I’m also releasing another ep with Michel on Extravaganza, so stay tuned!”
What are you working on at the moment?
“I’m working on a new Rejected release that’s planned for somewhere after the summer. It’s going to be a nice melodic release and we already have a very nice remixer on board. I’m also working on a remix for Material. Next to that I’m finishing some melodic downtempo stuff right now. I haven’t found a label for it yet.”
Can you tell us a bit about the set up and tracks you used for this podcast?
“I mixed this podcast with two CD players and a mixer. I used tracks of artists I admire like Deetron, Chaim, Trevino and Guillaume and the Coutu Dumonts. I also used material from my ‘Spectre EP’ that was just released on DFTD. I tried to keep it diverse to make for a nice one hour journey.”