As France continues to establish itself as one of the most active countries in Europe for tablist and scratch related music and releases (what with the likes of C2C, Birdy Nam Nam, TGOS, Kodh and others all dropping releases in 2005), we managed to catch up with 2 of France’s finest, Netik and Troubl. While we caught up with Troubl earlier on in the year, Netik is one French DJ we’ve so far been unable to get a hold of. Still this has now been resolved, when we met up with these two at PLASA back in September, where they spent 4 days showcasing the new Mixvibes vinyl emulation software. So on day two we grabbed both of these talented Frenchmen, before setting up a special session with them, Tigerstyle and 2tall on the Pro X fader stand, and sat them down in a corner to get their thoughts on music, Mixvibes, what to do at a DJ trade show, French musical culture, recent and upcoming releases and other assorted thoughts. As these two prepare themselves to release their Numerik Fonk break record, now’s the perfect time for you to get to know them better, or get to know them at all. And be sure to also check out our 2 videos from the freestyle session (scroll to the bottom of article for links) between 2tall, Netik and Tigerstyle which followed this interview.

Ok well let’s start nice and easy, have you guys got any news, releases, shit like that upcoming?

Netik: Yeah actually I’ve got quite a few things happening. The first thing is a CD with my mate, Pat Panik, and it’s basically a dnb mix with loads of cuts and hip hop thrown in. There’s a whole bunch of fairly big dnb tunes on there, old and new, with accapellas thrown in, some remixes, downtempo breaks to change the moods and scratches and cuts. Apart from that I’ve got loads of productions sitting about in my house at the minute, which may turn into a solo break release later on, and otherwise the next big thing on the schedule is the break record we’re releasing together, Numerik Fonk. And that should be out fairly soon too…

Is that still meant to be released on Thud Rumble Europe?

N: I can confirm that for sure in a couple of days normally, maybe even later on as I’m meant to be seeing Wilfrid. But yeah it’s Thud Rumble.

And how did that link come up with them then?

N: It was because of Wilfrid. Basically there’s meant to be a European arm of Thud Rumble being set up soon and Wilfrid is in charge of it, so we hooked it up with him. It’s a distribution deal and they’re paying for the manufacturing as well.
Troubl: There’s some production work involved from them too…
N: Yeah they’re doing half the mastering on it, and we’re supplying all the audio and artwork. Originally we were gonna master it ourselves, but the master we did wasn’t really all that so we’re mixing it again for them, they’re gonna master it off and we’ll pass on the artwork. The deal was interesting for us so we just went with it, makes life easier for us too.

It does mean you should be able to get it in all the spots

N: Yeah basically we’re hoping it will help put it everywhere. Which is interesting for people like us.

And you Troubl, anything new?

T: Well I’ve still got that Quasimoto mixtape which came out recently…

Is that still available then?

T: Well for download on the net it is… (laughs all around)

So do you know what happened with Stones Throw then?

T: Yeah, basically I was speaking to them by email, I sent them a copy of the CD and they replied saying they liked it, we got talking and I was trying to get some stuff happening between us but then what happened was that on the cover for it I put a Z in the name Quasimoto, and I didn’t know this but there’s a fake Quasimoto who did a tour in the US and he had a Z in his name. And he had this costume he used and we basically made the same costume to use on the cover, but we didn’t even know about him so it was just bad luck. And so they thought I knew the fake, I told them we’d got rid of all the stock we had and they asked how many we did, told them we did a 1000 and asked if they wanted a repress, and before I got an answer the next day the mix was up for download on their site. In the end they said that because the CD was in loads of shops, there was a risk it would affect the sales for the new Quasimoto album, because some shops were stupidly promoting it as a new Quasi LP. So in the end we didn’t manage to come to an agreement and because I said I’d got rid of all my stock they must have decided to just put it out there and be done with it. And funnily there was a massive talk about it on their forum, with like ten pages, people saying it was dope, so I put the full playlist on there as well. But yeah that’s still out there and you can grab it, so do it! Apart from that I’ve also got a break release, with J-Mind, alongside the one with Netik. That’s called Troubl Minded Breaks, you might remember it from when we had a chat last time. After that I’ve also got a solo break release planned, entitled Brick a Breaks, with one side full of samples to do turntable music type shit with, you know what I mean, and the other side with a few beats for practice. And I’m still working on my LP, it’s coming along nicely but still not finished. If all goes well it should be ready by the end of the year, or early 2006.

Is that the one called ‘Smoked out Dreams’?

T: Yeah that’s the one. It’s a solo thing with compositions, some scratched, some not, but all of it comes from vinyl in one way or another. Not everything is manipulated on the decks, some of it is just straight sampling, but there’s something for everyone on it. And apart from I’m still doing nights and other shit like that…
N: Drugs, prostitutes… (Laughs)

Wicked. Well seeing as we’re at PLASA and you guys are here for Mixvibes, do you wanna give us a quick run down on how you ended up doing showcases for these guys?

N: It started for me in March last year when I signed a contract with them which was supposedly for one DJ show, but seeing as I like the product and the guys are cool and we all get on I’ve just kept coming back with them to various DJ shows to do my thing. They just ask me whenever there’s a new one happening, and it’s good for me as it allows me to meet some people, hook up for some projects and shit like that. It’s all good.
T: For me it was Netik who brought me along. It was an occasion to come up to London as well. It’s the first time I do a DJ show but I like it so I’m gonna try and hook something up with them, because like Netik said it’s a nice deal and it’s worth it.

So you guys are interested in what the product has to offer?

Both: Yeah definitely.
T: It’s a good, strong product as far as I’m concerned.
N: For me it’s one of the best products when it comes to vinyl emulation and digital manipulation.

You tried the other ones on the market then?

N: Well I haven’t tried Serato’s one, so I’m saying this without having tried it.

Yeah because from what I hear apparently Serato is the best on the market now…

N: Really? Well ok you might want to erase that last bit then, because I’m not gonna look credible am I? (laughs) But when you compare it to things like Final Scratch, frankly Mixvibes is way better, no question. The other thing with Mixvibes is that they’re really quick at incorporating ideas. When I told Eric, who works on the software and coding, about the new Vestax turntable that allows you to do note scales and all that, he found a way to incorporate something similar in the software overnight.
T: Yeah they’re really good at that type of stuff. You’ll say something and the next day they’ll have done it and you can try it.
N: Basically they’re the type of people who are happy to listen to the DJs and take what they say in without ignoring it or thinking less of it. Eric especially, because he does all the work on the coding etc, is very good for that. He calls you frequently to ask for new ideas, things that work, don’t work etc…
T: He’s not the type of guy who does the program on his own and then gives it to you and says ‘you’ve got to use it like that’. They’re really open to feedback, which is good. They’re focused on making it a good product for DJs, so they listen to us.

And the new video manipulation side of it, which they’ve just shown at PLASA, is that also something that interests you?

T: Yeah for sure. Especially for me because I’ve already been working on some projects that involve video, there’s one you can see on my Beat Breaker Theory 2 CD, which you should run out and go buy now! (laughs) We did a video track with a VJ friend of mine and he was doing it in a kinda hands on manner, which wasn’t very fluid or easy to transfer live, but now with something like Mixvibes we can scratch the audio and video together and it means we can do a lot more. It opens up loads more doors for us.

And Netik are you still doing live shows with Eclectic Barbarian?

N: Not anymore, it’s finished. It was a live jazz band I worked with for a while. I worked for 2 years with them, until 2003 I think. Most of the shows we did were in Holland because they’re Dutch. They’re from Groningen, and it finished after about 2 years because, well let’s say because of personal differences between one member of the group and myself. But it was a great experience for me, especially because when I started with them I’d just come out of battling, and so my mentality needed changing and I needed to see and do new things. It was so different and just felt like a breath of fresh air. It meant I could scratch with a totally different vision to what I had before. It was so different to being technical and using those techniques to flow over hip hop type beats. Some of the grooves we worked on were outside of the simple four by four rhythms, we covered loads of styles, rock, jungle, downtempo. Sometime I had no beat to go with, I just had to create ambient sounds and moods, it was dope. It was really different and enjoyable basically.

And you Troubl, you got anything similar like that happening in the future maybe?

T: Well I’d like to but the concept isn’t really there yet and the main thing is that you need to find other people you get on with to set up things like that and it’s not always easy. Now if I could find someone who’s really next level on the accordeon it might happen! (laughs)

And moving on, have you guys had the time to check out what’s happening musically speaking on the scene recently? Now that battles are becoming more tired every year, there has been loads of stuff happening outside of that, especially in France with C2C and BNN there’s been a lot of interest in the stuff coming out of the country recently.

T: Yeah the Birdy album is nice.
N: Personally I’ve heard the first single and the album just before we came over, when we were at Crazy B’s house, and I must admit it’s really nice. It’s funny because even though it’s all done on tables, you can’t really tell unless you know that’s it done that way.
T: It sounds like it’s programmed by hand you know?
N: Yeah there’s no solos, not really any scratched sounds you can hear and that gives it a feel you couldn’t get if you were programming it anyway, like the beat may not always be perfectly on time, but it’s a nice touch to the music. But yeah it’s a nice little LP, I liked the vibes on it too, and it doesn’t really sound like D-Styles or anyone else which is good.

Yeah they took a different approach to the all-scratched angle, whereas they’re quite a lot of people who I guess you could say have ended up mimicking the styles and moods which D and others brought with their albums.

N: Yeah it’s weird because I don’t even know if it’s the fact that people tried to mimick what had been done or the fact that these albums created a sort of context, template if you want, where people thought if you wanna create scratch music it’s got to sound like that.
T: It’s like it set a precedent and so everyone has to follow in the same vibe.
N: So if you do a scratch music track, it’s got to be downtempo, with only ambient sounds, layers etc… anyway that’s the idea I’ve got, it seems a lot of stuff I hear when I look is like that.

It’s a weird situation for sure…

N: I don’t know if it’s really a simple case of people copying what they hear…

I think some people were inspired by those albums, but then didn’t really go further then this inspiration when deciding to make music…

T: They just went down the same route.
N: Yeah it created a template and loads of people seemed to have followed that without wanting to change it, which is cool, but I like to hear different shit.

It’s funny because it seems that in France, for example, there’s been more of a split between styles and what you can do sonically with scratch music. There’s BNN, and then the stuff you guys are doing, the stuff I’ve heard from your LP Troubl, which is also on some totally different tip, and then C2C who are more on the funky, hip hop side of things, taking their routines and making them into full on tracks, like the Feel Good one on the Hocus Pocus album. It’s interesting to see how people move on from the battles, or other things they’ve done, and the music they start making.

T: Even with the battles, when we were in it, things started to change towards the end. There was less hip hop and more people using electro, breaks, dnb etc… It was like you could tell at one point that no one really wanted to fuck with hip hop anymore and instead they were trying loads of crazy shit. But then that became the new norm and so…
N: Well before that there was always a few people who were messing with different shit in battles, doing crazy shit. Like Fresh J in 95, there was always people in DMC who came with something that wasn’t hip hop based, but then after Craze there was definitely a shift towards more electronic music.
T: And now from what I see of the battles more people are starting to do stuff that’s more musical, like cutting up guitars and shit like that. Personally I find that when it’s done in a battle it’s a bit so-so… It’s hard to have an impact, the type of impact you wanna have in a battle when you’re cutting a guitar. If you see what I mean, it’s not as in your face as some of the other shit we’ve been talking about. It’s cool in showcases and things like that.

And have you had the chance to check out what Tigerstyle has been doing recently, and the stuff with Pfel and Rafik as well…

T: The Eurostar thing?

Yeah

T: that’s nice man.
N: I’ve not had the chance to see them together yet, but I’ve seen Tigerstyle and he’s nice.
T: Again though I think that people who are used to seeing guys like him battling and scratching like madmen, when they see him live in a different setting they’re a bit like ‘ummm’.
N: I did a showcase in Spain with Tigerstyle and when people saw him do his thing solo, making tracks live etc, they seemed to be a bit subdued, it was weird.
T: Same for me, when I’ve done tracks like the reaction has been weird.
N: I think that when people know you as a battle DJ, it’s always hard to shake that impression off and come across as an artist, not a scratch DJ or a battler.
T: Yeah it seems people, some of them anyway, aren’t into it as much as when you do a routine and they can tell you’re fully into it for a few minutes. When you’re doing your song, shit’s different.

So would you say it’s harder to get the crowd engaged into what you’re doing when it’s not battle related or orientated?

T: Yeah but then I guess it’s a case of educating them to this new approach. Especially because things are moving more and more in that direction anyway. There’s always going to be DJs like I-Emerge who are more aggressive and battle minded, but then again last year even he was busting some guitars and shit. I was surprised personally because he’s the type of guy who comes across as a really battle minded guy on stage and then he’s busting 3 guitar notes over a beat, and you’re a bit like what?

And would you say that this response from the public you were talking about when you do things which are more musical, may also be to do with the fact that you get booked for nights which are more hip hop nights and where the promotion for it is axed around your past battle titles and the fact that people know you from those events and so might expect something similar and not something which is more personal and different?

Both: Totally.
T: Yeah it’s difficult to educate people. You’ve got to re-educate these people to understand there’s more to this thing then battles or scratching. Battles are still something that some people need to do, it’s a good school to learn techniques, learn the basics, learn how to give off this vibe when you’re on stage but then when you come out of it you need to show something else, show that you can use these things to do something that’s not like what you do in battles. When you do a night you’re not forced to do battle routines, you can come out and do what you want, show people what you want to show them personally, your take on music…
N: Even just play some records! (laughs)
T: Yeah but it’s true, even just playing records. When I go to a night and people might expect me to cut and I do a funk set…
N: They come up to you and say ‘where’s the scratching?’
T: There are always some who think it’s shit that you’re not cutting.
N: At the same time it all depends on the situation. And it’s true like you said, a lot of it rests on the promotion of the night and how it’s sold to people. Sometimes I mix without any routines and it goes down fine and sometimes people are looking at me like ‘what the fuck? You’re a world champion, bust a scratch’. It does depend on the night.
T: The funk nights work well though!

And there was a night a few months back in Paris where they brought all the past world champs from France together, how did that go?

T: Yeah I was there…
N: I couldn’t go because of some prior engagement.
T: It was good. We had BNN do a few tracks, C2C did their showcase, Kodh and Audiomicid were there too, with Feadz, they did some weird house, electro from the 80s showcase and I finished the show with the VJ guy I work with. It was like 30 minutes with everything synchronised, and it was a good little night. It was great also to see what everyone is up to these days, and the crowd loved it as well.

And in France how are things these days when it comes to music, doing shows etc…?

N: Well it’s funny because all the DJs who made a name for themselves in battles have moved on to other things, like Audiomicid is on some proper electro tip, Troubl is more on the funk tip, so it’s true that everyone is busy doing their own thing, following their own style. Personally I still mix hip hop but it’s nice to see people are open and they’re willing to try different things, experiment. But then I think that’s something most DJs have that you don’t always have with people or artists who are into a certain genre. I’ve got friends who are into hip hop, as breakers, producers, whatever and they’re not always so open to new things musically speaking. I feel like I’m much more open musically then some of my friends basically. When I say that I like dnb for example I get some funny looks and comments, there’s still a lot of preconceptions in France about different genres. Like if you’re into dnb, you’re into raving and drugs. It’s quite crazy in a way, it’s very different to the UK for example. If you’re into hip hop back home, then you need baggy pants and a cap, and if you go to a techno night they’ll be like ‘what the fuck you doing here?’ and it’s the same with every genre really. When you’re into a genre, it becomes your identity and that’s a bit shit frankly. Personally I like lots of things, and what I’ve just said is a bit of a generalisation but by and large it’s like that for a lot of young people. And I get the impression it’s not like that over here.

True, it can be different over here. There is much less segregation when it comes to music, and less stereotypes that people stick to. You’ll have clubs like Fabric where one room is full of dnb all night, one room is live hip hop and one room is breaks…

N: Or like Herbal, where we went last night. And there was dnb downstairs and hip hop upstairs and I saw the same people going mad to the dnb upstairs 30mins later going mad to hip hop. It’s nice.

Yeah that’s it, I guess you could say over here people segregate the music by bpm but the majority of them will like a broad range of bpms. It’s also to do with the power and importance of DJ culture in the UK, which has changed things in society and made it ok to be into different things and have different music side by side in a club.

N: It’s true that in France there isn’t really a DJ culture or much of a musical culture to speak of. It’s all a bit old.

And that’s where it’s interesting that you guys are all doing different shit like you were saying. All the French DJs who’ve got an international name are now doing different things musically and so you’re turning people onto different vibes and helping to change the whole thing.

N: When I do dnb it’s funny because I always get people coming to me in France and saying it’s great that I’m this guy coming from Hip Hop and doing this, etc… In France when it comes to dnb, breaks etc… you don’t really see hip hop guys getting involved at all, so there’s still a massive gap between the scenes, people into hip hop still wanna play the bad boys and pretend to be gangsters and shit, and it’s a shame. And so people always seem to be shocked that I’m doing these things that are different, with the live dnb shows for example, and personally I think it’s a shame that people think that way. And at the same time these people say that to me but they’re in the same frame of mind as those hip hop guys I was talking about, you talk to them about hip hop and they’ve got their own preconceptions which they don’t let go of. Anyways it’s all a bit funny basically…

Yeah for sure… well let’s end this then. You got anything else to say?

N: Well I just wanna say check out my new site, djnetik.com, it’s gonna be live real soon, with audio, news, tour dates and all that good shit…
T: I’ve still not got a site…

Ha ha, you still not find someone to do it then? I’ll add another request on the site then.

T: Yeah but I still can’t afford to pay anyone! (laughs)

Ok then before we finish this, let’s have a quick round of questions… What are the 3 things you like most about London?

N: (laughs) The clubs, the nights and the ladies!
T: Especially the ladies that show their stomachs, that shit’s nice. I love the little beer bellies. Yeah the clubs and the ladies.
N: The typical answers… clubs, ladies and drugs.
T: I like other things, the fact that people are much more open, girls dress any way they want etc… You go to clubs and people are dancing anyway they want, doing what the fuck they want, that’s nice.
N: The whole vibe basically, which is reflected in people’s state of mind, even in the street. You get the feeling shit is more relaxed, which is a nice change.

And 3 things people might not know about France?

N: There isn’t just good wine and cheese goddam it! (laughs) But yeah that’s a good question for which I don’t really have any answer… Oh yeah we’re not all small minded fucks who like to talk big, that’s not true. There are other things…
T: We aren’t all frogs legs eaters either…
N: Well that’s still only one thing though…

And 3 things to do while you’re at a DJ trade show to kill time?

T: Go round the whole thing once, until you find the best stand and stay there for 4 days!
N: Checking out the ladies, finding open bars…
T: And scratching as much as you can and getting paid for it!

Thanks a lot to the guys for taking the time to sit down with us. You can find out more on Netik at the above site, and if you’re interested in making a site for Troubl (that’s twice he’s asked now, go on…) then get in touch with us through the contact page and we’ll put you in touch with him. Numerik Fonk should be out in the new year, and Troubl Minded Breaks is out now, so check your local record pusher or regular online shop for more on that. You can find Troubl’s Quasimoto mix, right here (right click and save as). And if you want a tracklist, hit up the Stones Throw message board or peep the artist page for Quasimoto, and look at the bottom for tracklist, download etc… And don’t forget to go and check our download section which also includes a zip file with samples from Troubl’s Beat Breaker Therapy mixes (vol 1 and 2). Lastly you can check a review of Netik’s latest mix CD, Concentrated Juice, right here. And stay tuned to Turntable Radio for new music from both these guys, and while you’re at it, go and buy the Cuts of Culture compilation which features a brand new track from Troubl’s forthcoming album (Cuts of Culture is available for a measly £5 at the Skratchshop.