PodIUmix #4 - Guy Freedom - Don't Panic

art work by 


yulkayulka
 

Style: Techno. House
BeatRate: 320kbs
Size: 155mb
Time: 68min





http://soundcloud.com/podiumix/guy_freedom_dont_panic


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Tracklist:
1.[Intro] Lexicon Avenue – From dusk till dawn (Sander Kleinenberg audio paranoid dubapella) [CDR] [2002]
2. Efdemin – Acid Bells (Martyn's dark mix) [Curle Belgium] [2009]
3. Oni Ayhun - * unknown track name * [Oni Ayhun Records] [2009]
4. Reject – * unknown track name * [unknown label] [2009]
5. Joaquin 'Joe' Claussell – Wail of the Heart [Sacred Rytham US] [2010]
6. Deadbeat – Sun People (Dub divisionaire) [Wagon Repair Canada] [2008]
7. Ethyl & Huxley – Byzantine [Cecille Numbers] [2009]
8. Agoria feat. Scalde – Solarized [PIAS Benelux] [2009]
9. Danny Howells – Landing on Planets (Dosem deep house mix) [Dig Deeper] [2010]
+ Roland Clark pres. Urban Soul – President House (Acappella) [CDR] [2003]
10. Rytham of Elements – Praia [R2 Records] [2009]
11. Karizma – Drumz Nightmare [R2 Records] [2009]
12. Paperclip People - Throw [Planet E US] [1996]
13. Steve Bug – Trees Can't Dance (Deetron remix) [Poker Flat] [2009]
14. Inner Light – Phantasia [ZYX] [1991]
15. [Outro] – The Future Sound of London – Papua New Guinea (Dub mix) [Jumpin' & Pumpin'] [1990]

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We asked Guy a few questions:

Where was this set recorded and using what equipment?

This set was recorded at home using two Technics-SL1210 MK2 turntables with Shure M-44 cartridges and a single CDJ-400 for the vocals. This was all plugged into an E-MU external soundcard and…that’s it.


Tell us a bit about the idea behind the set. Is there a moment in the set you loved more than others?

At first I thought really hard about what I want to play and how. People who know me for years now probably guessed I’d play pumping Techno, and then say something smart like “Breakbeat would really fit here” and start skipping between Breaks and Techno. I evolved since the last time I did that so I wanted to get as far as possible from this pattern and take a different path. At the same time it was important for me to keep the set “100% Freedom” and I hope I managed that. Music-wise I tried to tell a story while moving between genres. The idea is to play a one-hour set that would feel like a two-hour set…or more.
There isn’t a single moment I loved in particular but any moment where something unexpected happens, a long mix, and a surprising a-cappella…all those are moments which get a smile on my face while recording and replaying.


How did you get to Israel-Underground and how would you sum its first decade of activity? What are your plans for IU's future?

IsraelUnderground was founded during August 2000 and I joined it 3 months later when my girlfriend at the time told me "You have to join this community. There are people like us who love parties and electronic music"…and then 10 years passed like ten minutes. Looking back I'm really proud to be a part of such an amazing thing. A few generations of clubbers grew up and evolved in IU and through it made many connections, found love, friendship, developed an entire language and created this amazing "together" feeling which enhanced the entire clubbing experience and much more than that for each and every one who participated and still does.
Today everything is different and IU is in a complex situation in which Facebook and such fill the communicative need people had for sharing their experience. Our challenge is to differentiate IU from everything else, turning it from something Facebook can replace to something different. Then it will be able to join and unify another group of people with common interests. This future is dependant on too many factors for me to make an educated guess, but let's just say that I put my trust in people.

Vinyl, CD, or MP3? Explain why…

Whoever knows me also knows that my only answer is Vinyl. Vinyl has a different feel to it and even a unique smell, but more than everything it has character. It’s not just the “I play vinyl so I must be cool” issue but also the important ability to identify a single vinyl in a big case, know exactly what’s in it, see how the track behaves while still holding it in your hand and also build a case with a specific character every time it’s needed. I’ve seen a few people try to do the same with a laptop, going through all the folders before every gig but the majority keeps it all in one big pile. The only reason I don’t get angry when someone tell me he has no idea what music he has, is because vinyl is still more expensive than digital music, which is far more available in digital stores. For someone young still trying to identify his or her personal taste this option may very well be the better one. For all the rest who are not obsessive collectors of digital music I simply recommend vinyl.

When and what brought you to spin your first records?

I can't remember the very first trigger for looking at the entire concept of djing, but at first I learned basic mixing from a guy who had CD players but no mixer, and I just bought a second hand mixer but had nothing more. We joined forces and so I began mixing, years before IU was even founded. Later on it was watching the late DJ Adar Noyman rocking the TLV which got the fire really burning. Only then I really started saying out loud "playing at home is not enough anymore. I want a crowd". Back then it wasn't just music but rather this urge to get people's hands up in the air that moved me. The connections I made in IU helped me progress one step at a time and the massive push I got from IU members worked like jet fuel. It was only during 2003 that I started building my vinyl case and library and at the beginning I had some help from the two lovely female friends and talented DJs who helped me with some records, as well as with some mental push (for which I will always be grateful). Since then I never stopped playing and today I have more than 700 records and some worries about future storage for the next few hundreds. Rich men's problems…


Which moment do you remember most from your residency in the “Feel So Good” after parties?

Wow they were all so much fun, because the crowd always stayed to listen to the resident, no matter who the guest was. Until today I get stopped in the streets by some odd individuals thanking me for some crazy morning from years ago, which is weird considering the state people were in during some of those parties…
One unforgettable moment was when I got back from New-York. They created a flyer and wrote “Freedom’s welcome back party”. I missed only one or two parties and was still greeted with so much love I felt like I was floating on a cloud. Another moment I can’t ignore is actually the first one – the first “Feel So Good” party I played at for the “hostile” crowd right after Asi Kojak, then nothing short of an after-party idol. I was all shaky which made the set twice as hard. When I finished playing and while I was waiting for the tomato barrage to hit me everybody just stood up and cheered. There were many IU members there but also lots of people who just got to know me during that set. Minutes later the line manager whispered in my ear “congrats, you’re the new resident” and all the rest is history…


In the past you’ve been called “an outdated DJ”, “old school DJ” and “not fashionable”. What would you say to those critics today?

Those are three different accusations which are completely different from one another. I’ve been buying new records for years now so calling me outdated today would be an absurd. A part of being a good DJ is to also look at treasures which are now forgotten just because they were released two months ago. This becomes extra important in days like today when about 90 percent of all new music is mediocre at best (some will say the number is even higher).
All in all, in times where Disco is back in fashion, the good old House flourishes and gets into other genres as well and veteran DJs get back to life…being called “old school” is not an insult. On the contrary – I’m very proud to be open minded enough to be able to look back as well as look at charts. A short glimpse at the industry tells me I’m not alone.
Of all the accusations I’m willing to admit that I’m absolutely not fashionable, never was and probably never will be. I barely recognize the current hits by name and sometimes not even by sound. I also barely know most fashionable producers and don’t try to follow names. In my case I’m glad this is how things work for me because it allows me to develop in the direction my personal taste pulls me to and not other people’s taste.
Good music is ageless, so trying to categorize something according to label and release date is a sin. I don’t see the difference between a week-old amazing track and a sever year old amazing track.


After a decade of clubbing and djing, what do you think are the fundamental changes that took place in parties and the DJs' attitude?

The process was almost transparent to those who were there all along, but looking back and comparing 2010 to 2000 it's impossible to miss the process that clubs have gone through, changing from self-sustaining entities with an endless crowd to a an engine dependant on a tiresome and ongoing promotion and less on its musical agenda. Today this seems like an inevitable process since clubs are owned by people who need to keep money coming in for a living, but the crowd-making mechanism isn't working as good as it used to, causing clubs to look for new crowds in every possible hole in the ground.
As for the DJs it's the ease of making music and publishing it that created a crazy situation in which the average DJ is controlled by music and hype instead of controlling and manipulating them. The power of instant-hits and "genres for a moment" has got much bigger, and as a result it's harder than before to pinpoint DJs with unique sounds and selections.
In this new situation good DJs and great parties just stand out more, just like a light-house, and I think it's not worse than before…just different. There are still many good parties and the need to select is still there. My only fear is what woud happen if at the end of this process we'll found ourselves with good parties, good clubs but not enough young and fresh crowd to replace this generation.


Name an Israeli producer and an Israeli DJ that you highly appreciate.

The borderline between a DJ and a producer in the past few years has become blurry and virtually nonexistent, so selecting a producer who’s not a DJ or a DJ who doesn’t produce at all is nearly impossible. Lately I’m very impressed with Gadi Mizrahi’s (Wolf + Lamb) selections both as a producer and as a performer, and I hope you’ll forgive me if I still consider him to be an Israeli although Israel is never mentioned wherever his name is. Aside from him I really appreciate all the Israeli producers that I personally know, who just do what they love – with or without international or even local recognition and respect. Mentioning a few means I won’t mention quite a few others, and this is one diplomatic incident I will gladly avoid…

Which do you believe is more challenging? Playing an opening set or a closing set?

In both cases it’s a decent challenge however the first DJ’s responsibility is much bigger since the entire party is resting on his or her shoulders while the last DJ can usually experiment and play freely. He won’t be blamed for completely ruining a party.
A warm-up DJ must also be able to let go of his ego and change his game-plan according to the crowd, which sometimes comes in the wrong mood and needs a little nudge to jump-start the party. The closing DJ’s ace in the sleeve is his (or her) power to turn a great party to an unforgettable one.
Unfortunately today the crowd tends to get into the club right before the main event, completely ignoring the warm-up….and that’s a real shame.


Name one thing you'd change in today's music and clubbing industry.

Education and more education is what the system needs. If Djing was treated the same as learning to play a piano or a guitar and not as a way for many young kids to show just how cool they are, it's possible that we might have seen more unique DJs and producers as well as more new faces on the dance floor. Instead it's all treated like a weird, noisy and somewhat violent niche.
What we really need is more activities initiated by all factors in the scene (being clubs, DJs, music stores, producers and such) that are currently very busy surviving. Some community service and teachings, workshops meant to expose young crowd to more music, to Djing as an art and to the true beautiful colors of the club culture. Unfortunately this seems like a fantasy which requires many changes in the way "the system" treats the clubs and club goers.
In a more personal note, I hope to keep IU as a decent platform for sharing musical experience and as a beacon for clubbers and DJs so that they may find the constant feed of knowledge and information that keeps us all going on.


Imagine yourself 10 years from now and describe that image.

Hmmm…married just like I am today but with two kids and still with our three cats. I will probably still work in high-tech but not as a programmer but rather as a manager of some sort. At home I will still have DJ equipment and my only hope is that it won't be dusty. I hope to still have the drive to go out to selected parties a decade from now as well, because I believe clubbing is something for the soul and suppressing it completely when the drive is still there would be awful. Beyond this entire bourgeoisie I believe I will just do my best to enjoy life.



"In previous life I was probably _______________"

A very happy cat, otherwise I can't explain where my love for this animal comes from.

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Some info about israelunderground.com
IsraelUnderground is a community founded during the year 2000 and which consists of a colorful blend of electronic music lovers, clubbers, djs and producers. During its many years of existence IU has evolved and changed parallel to the Israeli scene, followed it in it best days as well as in its worst, while constantly bonding its members not just on the dance floor but outside it as well.

This podcast series "PodIUmix" (Pod-IU-Mix) will attemp to showcase members and friends of IU, while trying to expose the listeners to as many musical genres as possible. This is IU in sound.


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