I was speaking to Daniel and Luca C. from Cazals and told them that Asian Dan might as well become the official Cazals fan page. They are a fantastic band and released a fantastic album this year, one of my favourite. Anyways here is the next installment in the Cazals band profiles, introducing Martin the bassist and producer of Cazals who also goes under his electronic moniker, Dubka.Here are 2 great Dubka remixes, very pop and 80s. He did a great job nailing those classic 80s drum and synth samples. Catchy stuff
Late of the Pier – Space & Woods (Dubka Remix)
Pin Me Down – Cryptic (Dubka Remix)
Asian Dan Interviews: Dubka
1. Who is Dubka? What is your first musical memory?
I’m Dubka, I’m a musician and producer. My first musical memory is lying on the floor in front of my dads hi-fi speakers, listening to “The Longest Time” by Billy Joel. I remember the feeling of the bass in my chest and all the amazing contrapuntal vocals.
2. What are your biggest influences, musical or otherwise?
I’ve always loved Francis Bacon’s painting and just the way he saw the world and thought about art. Mark Rothko is another influence, which leads me to Morton Feldman and John Cage. I find some of the things these people wrote just as inspirational as their art. Sometimes more so. Musically, I love Stravinsky, Yellow Magic Orchestra, The Strokes, Bartok, Ligeti, Penderecki, Talking Heads, Daft Punk, Laura Branigan, Prince, John Carpenter, Devo, Ariel Pink, Cyndi Lauper, Madonna, Eurythmics, Stan Bush, Tel Jeroen… I could go on all day.
3. Who are your favorite Producers/DJs?
I think Daft Punk are so far ahead of everyone in so many ways, it’s impossible not to admire them. And I kind of see Oizo as the ring leader of all the new French guys. Nile Rodgers is great, the Persian guy who did the best Chaka Khan stuff, Brian Eno especially with Talking Heads, Phillipe Zdar, Prince, the guy who did MGMT sounds great. I’m sure there’s more but I can’t think right now. I’m more into music than production.
4. What are your top 5 tracks you put on to dance?
Well, like most people, it changes all the time but right now I would say:
Once In a Lifetime – Talking Heads
Lucky Star – Madonna
Girls Just Wanna Have Fun – Cyndi Lauper
Savin’ The Day – Alessi Brothers
Dare – Stan Bush
5. What to you is a perfectly produced track? Any examples?
That’s a tough one. I don’t think there’s any such thing as perfection. Production is almost like dressing someone. When you see them naked, you might instantly think of something that would accentuate how that person looks, highlight their qualities and hide their flaws. Maybe they look amazing naked. Some people could make a bin bag look good and it doesn’t really matter what you do with them, if anything. So, if you follow my analogy, I think it’s all very subjective and at the end of the day you just end up with one vision, not perfection.
6. What are some difference between producing tracks as Dubka vs. producing Cazals?
I don’t think there are any similarities! The first is me pacing up and down, lying on the floor, not speaking and looking for exactly what it is I want to do and how I see the track. The latter is a compromise of everyone’s artistic vision, technical ability, ego and all the rest of it. If I want to try something, I have to convince the others of my intentions. And then working with Cazals differs from working with another band because I’m much closer to the whole thing. Luckily they’re usually quite tolerant when I tell them I’m right and they’re wrong. Haha!
7. Does your bass playing influence your Dubka production style? I have been playing bass for 10 years and feel that the bassline is the crucial link between the drums and melodies especially in dance/electronic music.
I’m sure it does. Bass was my first instrument so I guess I must relate most things musical to that in some way. I find the interaction between bass and drums and drums and melody really important. They’re like the book-ends of the track that hold everything else in place. Also, playing drums, keyboards and guitar gives me a better understanding of how they interact and how to arrange them and that in turn helps explaining ideas and communicating with other musicians.
8. How do you feel about DJs and electronic producers stepping behind the mixing board like Erol Alkan producing the Mystery Jets and Late of the Pier?
I was skeptical at first but when you think about it, it’s all just a matter of good taste and how you motivate people. Erol is a cool guy and I think he’s done a really great job with the bands I’ve heard him work with. As far as I know, he mixed those records as well, which is very impressive. SebastiAn said he’s working with Peaches and Uffie too but I guess that isn’t such a huge departure, apart from the communication and the compromise.
9. Dubka’s future plans? Cazals future plans?
I’m not sure what’s happening with Cazals. There are a few more gigs to honour this year, then who know’s? As for myself, I’ve just finished a remix for Hearts Revolution which I wish I could show you but it should be released soon. Oh, and I’m just starting one for Sebastien Tellier. I’ve been talking about revisiting an old project of mine with some friends called The Plastic Society (www.myspace.com/wearetheplasticsociety). I always have problems with my own music because I find showing it to others can somehow affect how I view it and that makes it difficult for me to judge exactly what it is I want to do, which I find very important. There’s music in my computer that nobody has heard and maybe never will but I’m talking about it more these days so I’m working on what’s going to become of it. Maybe you’ll see a Dubka album, who know’s?