‘Onorin’

‘Onorin’

26 January, 2009 | 4.43PM

• Written by: freshair
• Filed under: Videos : raw hedroom, trapez

Raw Hedroom is Gareth William, an English producer who has already recorded on Leftroom and now it’s time for his Trapez debut with this two tracker on vinyl.

‘Onorin’ is a modern post Chicago-Detroit piece of techno, which works with that kind of understatement that we always loved with techno from either Detroit or Chicago.

A sequence, manipulated /modulated and with a feel for organic funkiness shows itself in the shape of a worm that sometimes breaks through to the surface.

In addition to that there is a bit of a psychedelic connotation with vocals repeatedly stating/saying: “On the bed… under the bed”.

A sexy and sensual track with a good portion of high tec behind it, since Gareth works with the Lemur polyphonic touch screen that also Daft Punk use when playing live.

On the flipside the track “Only boring people get bored” is one that uses the classic formula or technique to create funk, by grouping small, strange und funny cut up or sequenced sounds next to the kick drum. Midget sounds make it funky. and a deranged down pitched vocal talks along and gives the track a modern and cool Chicago feel!

The first digital bonus track “Scalep” follows in the footsteps of “Only boring people get bored” and has traces of funkiness featured throughout the track.

The second digital bonus track is a remix of “Onorin” by Arjuna Schiks from Amsterdam who started composing and producing when he was 15. He was the winner of the vinylized dance competition for most talented producer award of 2008. His first vinyl Ep was released on All Is One Records and was supported by Dave Clarke, Michel de Hey, Laidback Luke, Isis and more.

His“Onorin” remix is a cool combination of understatement combined rhythmically with a nice stop and go motion.

The third digital bonus track comes with a Emerson Todd remix of “Onorin”. Emerson’s remix “Rumpelstilskin” was picked up by many DJs and his releases on Dirty Bird triggered tidal waves.

His massive remix of “Onorin” will set a mark also on Trapez.

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How did you first get into dance music?

Well pretty much my whole family are musicians so I started with music at a very young age. I first noticed dance music at the end of primary school when some rave tapes somehow ended up in my hands (which were probably covered in Cadbury’s min-rolls and satsumas or whatever kids eat). From then onwards I remember desperately wanting to go and and hear dance music in a club or rave for years before I was actually old enough to go. My first ever “proper” rave was in Germany when I got taken along by my exchange partner on a school language exchange trip!

... so what did your first ever production sound like?

Oh it was absolutely ridiculous!  It was some crazy jungle gabba thing with some metal guitar samples I wrote when I was about 12.  I still have a cassette tape recording of it. My parents must have been a little bit concerned about the racket coming from my bedroom!

What would you cite as your main influences?

Well I couldn’t even begin to give you a list. And to be honest, whenever I’m asked this kind of question my mind goes completely blank because there are so many to choose from. I remember being blown away when I went to my first Orbital gig though. They were definitely huge influences for me. I’ve listened to loads of Aphex Twin and the early Warp stuff too.

How would you describe your sound?

I think my sound is fairly varied. I don’t think I fit too neatly into a pigeonhole of techno, minimal or house or whatever because I love all of it and try and show different sides of myself in different tracks. I often seem to oscillate between writing nice groovy tracks and then something more aggressive to get the energy out of my system. One thing which I always try and capitalise on, though, is accidents. If my computer screws up and makes a crazy noise I’ll always try and sample it and use it in a track, if a synth makes a weird click noise I didn’t intend it to I’ll try and incorporate that, if I accidentally copy a part to a wrong track with a the wrong instrument on and it sounds good I’ll try and use it. I also use this device called the Jazzmutant Lemur at the production stage to add a human feel to the tracks. I use these touchscreen objects like bouncing balls with real world friction to add an organic, slightly chaotic feel to my music. That’s why I’m really happy to be releasing music on Trapez, I love the subtly insane and unhinged, yet still solid rocking feel to the tracks on this label!

What’s the best gig you’ve played at recently?

It would have to be an event called Beach Club Beach run by some good friends in Budapest, Hungary last sumnmer. The event was at an old communist villa (where famous communist leaders used to stay on their hols) in a big green space next to the lakeside. There was an amazing soundsystem outside and crowd of 150 or so people. A cool, intimate vibe. The party started at 2pm in the sunshine and everyone was raving it up outside on the patio when the cops turned up at 4am. We then had to pick up the soundsystem mid-party and move it into the villa where it could continue in a setting decked out in a really old-school communist style. It was like playing a set in my granny’s living room which was full of ravers or something! Cops turned up again at about 6am and were so curious and taken back by this mysterious touchscreen device I was using that one of them grabbed some bongos and started playing along to my set. He then promptly fell asleep, bongos in arms, for the next few hours! That was a pretty insane, and long, party in the most beautiful surroundings.

What is your biggest vice?

Sleep deprivation… and forgetting people’s names.

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