Introducing: Ahmet Sisman

Introducing: Ahmet Sisman

1 August, 2011 | 10.54AM

• Written by: Beatportal
• Filed under: Music News: ahmet sisman, introducing, slash, stock5

Fresh off his appearances on Galaktika’s 5 Years of Galaktika and the Tiefschwarz-helmed In the City compilation/mix for Souvenir, Ahmet Sisman returns with the ”Dancer in the Dark” EP.

The new record is Sisman’s first release for Stock5—also home to the likes of Jichael Mackson and Cesare vs Disorder—since last year’s “Hi Tech Booty” EP, and as you might expect from the title, it’s a darker, smokier affair, but every bit as propulsive, even with the slower tempos on two of the four tracks.

We reached out to Sisman to find out more about his background, his music, and Slash Label, which he runs with Pherox. Read on for the interview.

Ahmet Sisman, “Unknown Destination” [Stock5]

Apparently you grew up in Istanbul—what brought you to live in Germany?

I moved to Germany for studies and after finishing them, I have focused since 2007 on electronic music, I mean the production side. I was born and raised in Istanbul and moved to Essen when I was 19. I’ve been living here for 10 years, which is apparently too long, it’s time for a change. Next summer I will move to another city—maybe Berlin, maybe somewhere else.

According to your bio, it was Underworld’s “Born Slippy” that got you into electronic music. Where did you encounter the track, and what was it about the song that excited you?

A friend of my mother who was in his 30s showed me that track, and I was so fascinated by that music. He left the CD at my place, so I ended up at listening to that track on heavy rotation. “Born Slippy” has this very strong groove—right now it’s actually really too hard for me—and generally I was very impressed by the flow of this raving feeling. I had never heard anything like that before.

How did you get your start as a DJ and promoter? What was it like putting on parties in Essen?

Like every young teenager, I wanted to play as a DJ, so the best way was to do my own parties. Slowly but steadily, it grew up into a part-time job during my studies. This was the best way to get into the scene in Essen, which does not have a really remarkable subculture. I think, compared to cities like Berlin, Hamburg or even Munich, Essen is a bit conservative in its structures and there are not many possibilities to find cool, “off” locations. We have right now our very own special club called Goethebunker (an old Nazi bunker) where I do a party with my friends called Monomusik. But it’s the only venue with a special touch, and even this place has problems with its neighbors. So generally the Administration of Essen is giving you a lot of barriers in doing some good rave parties.

Ahmet Sisman, “The Third Room” [Stock5]

You seem to have been quite fortunate, breaking into the business—your first demo was signed by Lessizmore, and your second record ended up on Sven Väth’s Sound of the Ninth Season. What advice would you give to producers who are just getting started? Would you do anything differently in your own career, if you could go back in time?

I think the most important thing is to give your tracks a very unique soul, a part of your character. And there is no golden rule how to do “good” music. I remember that this “naïve” touch which I had at the beginning of my productions was very helpful to create my own style. I still try to keep this approach in my music.

Concerning my career and the decisions I have made, I wouldn’t change anything, even if I know right now that some decisions that I have made in the past weren’t really the best ones—learning from my mistakes is a process of growing up! So no need to regret my decisions! ”No Return No Regret”!

Could you tell us a little bit about your studio? What kind of gear are you using?

My productions are mainly software-based; I use Ableton 8, Audio 8 DJ soundcard, M-Audio MIDI controller, UC-33 MIDI controller, etc.

I try to use as few samples as possible, except the vocal parts, and creating my sounds with VST instruments, plug-in FX or manipulating certain samples so that in the end you have a totally new sound.

My favorite VST instrument right now is the XLN Audio series of Addictive Drums. Super sound and it has a very human touch! Or Absynth 5, the Mouth, Vir2-Series etc.

For effects I use, for example, the Ohmboyz series or the Isotope 4 plug-in.

For monitoring I’m using the Yamaha HS80m, they have a very honest sound and are maybe not the best studio monitors to enjoy music, but if your music sounds good on those speakers it will sound amazing on a big PA or hi-fi system!

When you do sample, how do you approach it? Where do you source your samples from?

The source for my samples is coming from everywhere, I don’t have a specific source for that. I love the idea of manipulating those sounds and creating a totally new texture. I guess nowadays mostly every artist is using samples, which is totally fine. It’s just a matter of what comes out in the end of it. It’s like cooking: if you have the right ingredients and knowing what you are doing, you can cook everything. There are just a few simple rules to follow, and the rest depends on your creativity! The process of creating music and cooking are nearly the same.  And both genres are a big passion for me.

Ahmet Sisman, “Get Low” [Stock5]

You’ve got quite a lot of vocal tunes in your catalog—is that you singing? Have you ever considered going even more in the direction of songs (rather than tracks)? “Loose End,” for instance, seems to balance between the two.

No I can’t sing, actually I have a very bad voice! I love tracks that have a song structure, telling a story, with emotion, and having a certain unique flavor. Also when I’m DJing I prefer more this direction. Going more into a song-structured production would be an option for an album and when I find the right platform and time for it, I will do it, definitely. “Loose End” was a spontaneous process, and for sure I will do more tracks like this. Besides that, I think most of my tracks have a song-structured approach even if they are dancefloor tracks. It’s always those little compromises you do for the functionality of a track. I like more complex and eclectic grooves, weird stuff; sometimes they are not really suitable for the dancefloor.

Could you name three tracks that you think were particularly influential for your own style?

Mercan Dede – “Remember the Loveliness”

Pink Floyd – “Dark Side of the Moon”

Radiohead – “Everything in its Right Place”

What’s the philosophy behind Slash?

I founded Slash together with my friend Tim aka Pherox in 2009. Firstly, our main aim was to release our own music and realize our own understanding of modern dance music. And slowly we added new artists like Nico and started to make some collaboration with Nico Purman, Jorge Savoretti, Cesare vs Disorder, Daze Maxim, Digitaline and John Daly. Right now we are making a little creative break and focusing on new projects with other labels.

Who does the graphic design for the label? It’s a very nice, bold graphic identity.

To the design, until Slash005 I made everything concerning the artwork. Well it wasn’t really the best, and obviously it was getting to be too much work for me, along with my music career. So our close friend Nadia Cortellesi took care of it (since catalog #6 plus a new logo) and she’s doing a super job. Exactly what we wanted—even if it looks a bit like the Perlon artwork, it still has its own style. Check her work here.

Ahmet Sisman, “Dark Side of the Moon” [Stock5]

Ahmet Sisman Top 10

Ahmet Sisman productions on Beatport

• (0) Comments
• (1072) Views