Notes

Headland & Akcept Interview
1. How was your trip to Europe so far, any highlights? I’m sure Outlook was one of them. I couldn’t make it to the DDD party unfortunately, but I definitely heard a lot about it (laughs)

H: Yeah definitely Outlook and the boat party. It was crazy vibes, completely went off.

2. Where did you head from there? I spotted you went to Balkans and Poland on your way as well. Did you play a gig there?

H: So we went to the Carnival in London before we went to Outlook. And then we did a little trip to Bosnia and Serbia. We went to Zagreb before we headed to Copenhagen. We stopped by in Poland *to say hello to guys from Moonshine Recordings.* (didnt happen!!)

A: We played a gig at late notice in Zagreb in a club modelled like the inside of a submarine, that was pretty awesome!

3. Tell me a bit about the scene in New Zealand - what are the sound systems like over there? It seems like Christchurch is a real hub for the sub loaded sounds?

A: Yeah the city’s great, it’s got a little bit of anything really. Lot’s of people pushing different styles, not necessarily dubstep there’s guys making grime. techno etc It’s the main centre for bass music in NZ, in my opinion

4.. Any particular sound systems that you think deserve attention or are really pushing the scene?

H: Yeah certainly. Several sound systems. Eyes Down Sound system which we create for mainly [talking about a sound system and your friends that run it!] [i think it might be about subtle but can’t tell]

5. And then there’s another thing Jeremy, Scott and us two help out, we sort of go with him to get it in pick it up and stuff. And yeah, it’s cool, it’s a good little [team?]. We’ve been trying to do that as much as we can, but it can be difficult picking up the kit that’s not being [?????????][And then something that I think meant that most of sound systems from NZ are in Christchurch, but I’m really guessing :D]
Other systems… immersion sound system. 16 scoop hog [can’t decode rest of the sentence]. Ginormous. but does [….. ] a lot. its [????]
And injure[?] sound system. They’ve sold it now, but […] is still around

6. It sounds like there’s a lot going on. It’s probably more than in Bristol! Is that how you met Jeremy, Gene?

H: Well we had mutual friends, but we never really met until he came over from America and I went to see him DJing. I don’t think I was even making music back then. And we’ve sort of been talking, seeing each other at gigs, and been chatting for like 2 years or so. It’s been good!

7. So how did you come up with ideas on the EP? Did you make your tracks with Innamind in mind? or your tracks got picked up by Jeremy?

H: No, I never make tunes for labels. Jeremy’s been liking my tunes usually when I played them out. When I played him ‘Levy’, he was like ‘Yep, you got it’. So we locked that down, and the other ones just sort of happened too. The EP looked different 6 months ago. […]
Because ‘Levy’ is completely different to ‘Seen’ for example, they are two completely different tracks.

8. I think they all have different vibe to them, but I would say all have that raw, characteristic sound. Which I think is interesting in the context of “label sound”. If you listen to their whole catalogue they all have that characteristic colour, and it makes me wonder, whether people make music for Innamind? Or is Jeremy just very aware of what he’s choosing.

H: I think he just knows what he wants from his records.

9. So you both make quite dark music, but you also had some other influences in there, Alex, you seem to draw for dub techno style a lot?

A: It’s something that’s really pulled me in, I love the sparse sounds and the roots influence. Give’s me something to work on when I run out of ideas for 140 tunes!


10. What about your work with Unity Through Sound? Did you know Daz before? It seemed like there was a lot of mutual support between the three of you. I think that’s how I first came across your music as well.

H: Yeah we knew each other for quite a while before then. We realised that we were all into similar sort of music. And he told us about what he wanted to do. And he was like: ‘Do you wanna be on the first one?’ so I was like “Yeah… sure” (laughs). We tried to figure out how to make things happen, but it all came together quite quick. And you know, there’s more to come.

11. Ever since then there seemed to be a lot happening for you in the music scene. This EP really took over!

H: Thank you. And like I said - there’s more to come.

12. On this label?

H: Yep! I can’t say more, but yes!

13. Thank you for sharing with us. How about you two though - did you have any collaborations with each other?

H: We tried… (laughs)

A: Didn’t work yet.

14. (laughs) Ok, that’s fair enough! Let’s talk about your productions individually then. I noticed that you guys are doing bits on the road when you’re here, you’ve obviously got your headphones and interfaces with you, and you, Alex, showed us a track you made literally the other day. Do you think making music should have so much pressure on equipment and setting - having perfect studio treatment, best monitors, and all that? Or do you think what you’ve made being away from your studio the other day is perfectly fine? What are your thoughts?

A: I don’t know, all my tunes from the past year have been made on headphones. Not by choice mind you, lack of space for a proper studio set up at the moment but you gotta make do with what you have!

15. Well they sound pretty good? (laughs)

H: I make tunes on headphones, but it’s maybe more like bits and ideas. But unless I have proper screen and monitors and everything, I just don’t feel like it’s real, proper, do you know what I mean?

A: See I don’t think it’s that important, I prefer the comfort of headphones that I can be wherever I want in the house making it. And then obviously have the flexibility to finish it in the studio.

16. I kind of agree with that. I think sometimes going to a fancy new studio can make me feel a little bit uncomfortable and official. I personally think best gear can’t replace the flow and comfort of making music in your bed if that’s where it works best…

On that note, is there anything you could tell people as an advice in making music? What starting producers could learn from you about the industry?

H: For me it’s… Sit down and do the work. There were times when I was in every day. Might be half an hour, but it might be 5 hours, whatever, but when you do that, things just start happening. Speak to the right people, not to everybody. But generally, just do the work!

A; For me it’s also setting goals for yourself. Maybe a big and a small goal and try working towards them. Obviously be realistic and aim for something thats within reach, but have an overarching goal you can towards in the long term.

H: Yeah for me for example the Innamind release, that was the goal. I’ve been a big fan of their music for years, but now I’m on it. That’s fucking crazy! still doesn’t seem real to me. (laughs)

17. It is though! (laughs) And it’s sounding really good.

A: I would add to this as well, that you have to be persistent and not give up, and not worry too much what people are thinking

18. Do you mean criticism?

A: More like if you make a tune, someone is interested in it, but sometimes it might not come out for a while, or not at all, and it can be discouraging a bit. But don’t bet everything on that, you know. Be consistent and keep trying [I hope I understood this one well Alex, but correct me if I’m wrong] -nailed it!

H: I think what label you’re on is really important. Be picky. Don’t go for the first thing that comes your way. That’s one thing that I stuck to.

29. Yeah especially now that everybody’s got a label, it must be kind of hard to pick where to go?

H: There’s too many.
A: Yeah you have to try and make the right choice, to select something that is going to stick around for more than couple of releases.

20. I guess that’s pretty important. For example Innamind has always had quite strong meaning and message behind what they’re doing. Putting so much effort into making it right with their artwork, format, consistent sound and quite importantly with group of people behind it. It’s all been so rule-breaking and so forward, I believe it shook up the dubstep scene quite a bit when it appeared… So it might be essential actually to hold on to people with such mindset.

H: Totally!

21. So apart from mentioned releases, anything in the pipeline that you can share with us? I hate asking this question, because it’s obviously all secrets. But if there’s anything you could uncover for us… Please do.

H: I’ve got some plans to do with Subtle Sound System that we were talking about. [name] he’s been doing gigs for 13 years and doing loads of stuff with music, and I think in last few years he really wanted to start a label, which supposed to be releasing vinyl and digi. So I think early next year there might be couple of tunes from myself. Nothing is mastered yet, but I think the tunes are sorted.

I can probably mention that there’s a remix coming out on Well Rounded Dubs soon… You can probably already guess what it is. And there’s another tune. “Local” which is getting a remix treatment. So yeah, that’s on it’s way. And some more stuff on Innamind as well, but I can’t say any more about that.

22. Busy year ahead for you then. Thank you for sharing. What about you Alex?

A: I’ve got few things coming out. I just had a remix come out of JahYu’s label, Tripedal Crow and also a dub techno tune coming out on a digital/cassette compilation on a german based label called ROHS!. And then I’ve got an EP coming out on Artikal some time next year. I think J:Kenzo already spilled the beans on his recent show, so can probably share that now. (laughs)

23. Cat’s out the bag! That’s great. What it’s gonna sound like? Dubstep or dub techno? Which way you went?

A: Bit of both really, he’s locked down a tune called ‘Might of The Trinity’ for one side, still deciding what to do for the flip so it could go either way

How did the release on Sentry came about?

After the release on Amit’s label last year came out. I did a guest mix on Youngsta’s Rinse FM show and got talking and sent a few bits and pieces over for his show. I sent over Dreader than dread and he wanted it for a release straight away!

It took awhile to find a b side, I literally ran out of tunes to send him so Howl was a fresh tune for the EP

24. Wicked. So besides your releases, any producers local to you, that we should check out?

H: Ebb.

A: He makes a lot of 130 stuff, a bit of grime, techno influenced productions.

H: He’s a G. Been making loads of music, probably for about same time as me, nearly 3 years or so. He’s doing some great stuff, if he doesn’t get a vinyl release next year, I’ll be really surprised.

A: He’s a well kept secret (laughs).

H: Oh and his girlfriend as well. They make tunes together [Ok, you guys can say a bit more about these maybe, as it’s all over the place lol.]

25. I will definitely check these guys out. How about producers from outside New Zealand? Anyone deserves particular attention in your opinion? I know that there’s loads of producers you really respect, but maybe name 3 each?

H: Truant, Oxossi, Jackson
A: Another Channel, Pugilist, DubDiggerz.

26. Wicked, thank you! Anything else you would like to mention? Maybe shout anyone, a crew that you had best time with?

H: Bristol definitely.
A: Everyone in Bristol have been really welcoming to us.



[if you wanna add more shouts then please add here! i know you went to london afterwards so could have changed ;)]

A: All the people supporting the releases so far and the promoters who’ve been booking us, its been a humbling experience for sure!

27. Thank you so much for the chat! I’m hoping to see you here again next year.


A tune you would start your essential mix with….
H: Fish - Rob Thorne
A: Scientist - Dance of The Vampires


A tune that got you into dubstep

H: Breakage- Rain
A: Cockney Thug

Your ultimate 6am tune (the one to end the night of course, not to start the day with…)

Rhythm Sound - Jah Rule
Versa Rainfall in dub