Motion:Theory:Music brings you an excellent debut EP from Jules David. This body of work brings to mind images of a lush (yet dystopian) landscape with its futuristic and contemplative vibes.
Joining Jules for this release are Vincent Casanova and Timmus, two artists who have delivered incredible remixes with both tracks transformed into their own magical vibe.
We have had the pleasure of interviewing him and this has been the result.
Can you tell us a bit about your experience? Where are you from / how did you get into music? Was it all internet based?
Hi there.I was born in Melbourne, Australia, 1990 to French and Italian parents. My dad was always very passionate about music so he taught me a lot early on in regards to the history. As a teenage I was really passionate about hip hop, but i soon found myself listening to it mainly for the beats and production and I became facinated with drum breaks.I didnt make many hip hop beats, but that interest soon lead to a love and facination for jungle/drum and bass and breakcore and started off making a lot of that kind of stuff, purely for fun.But yes, the internet definitely helped a lot with getting into music in general and I used to spend hours on Discogs just looking through obscure releases and labels. What made me wanna make techno and house music however was not intenet based. Like many, it was after having gone to a few good raves and getting to hear a kind of music that I still barely knew existed. This soon triggered a musical vision in me for some kind of holy grail of underground music, and it became an on-going search to find those tracks played at those first raves I went to, and if I couldnt find it I definitely wanted to try make it!
Who have been your main inspirations (both musically and in «life»)? And how have they affected your sound?
As mentioned before, my Dad was the one who seeded this passion, and he’s really into punk music and the culture that comes from. A little bit of DIY garage punk aesthetic might always make its way into my sound, as I dont like things sounding too perfect all the time and I love it when sounds get glitched, distorted and crushed. And also the way punk culture views society, I feel has some parallels with house music culture, so thats another way it contributes!Another is my best friend Timmus, who I met in high school at the back of the line for year 9 music class «elective». We discovered so much together about music, such as the time we first figured out where that mental snare sample being used in heaps of jungle came from (the Amen break). He already had a taste of the rave scene, in the form of cassettes and CDs passed down from older brothers who already were a part of it. We’ve always been there to eagerly show each other new music that we’ve found, and having that kinda person from early on creates a certain musical bond that you carry everywhere.The last main one is Ben Abrahams, with whom I share an almost telepathic musical bond and also birthday. He helped to inspire my music and encouraged me to continue to take it where it is now, and after 7 years, We’ve started the label Motion Theory Music together. It was the name of a party he used to run and DJ at in Sydney for many years, and it definitely feels meant to be that its become the name for our label.
How would you define your sound?
Like a post modern amalgamation of 90s techno and breaks, with an inclination towards trippy sound combinations.My sound is desigend to help trancend something or another. But I’ve always felt my music imitates life in a way… repetetive but occassionally interesting, but so much so that it even makes the typical stuff seem bearable. I absolutely adore interesting soundscapes, sounds that get your hearing one thing when they’re actually something else.
How has your sound evolved so far?
Hugely. But some elements haven’t stopped because all the fundamental things i began making music with are still present. The weirder, random and more glitchier, the better, and that will always be an integral part of what i want to do. But Ive lately been able to get my hands on a drum machine, synth or two, my monitors still suck, as they always have, but what ive confirmed over the years is that you can make something incredibly interesting using the shittest equipment, all it takes is the desire, motivation and little bit of funk (a couple closed hats and 909 claps dont hurt either) 🙂
What can you tell us about each song that makes up your latest work? What is hidden behind?
I made both of my originals during different times, Around Places came earlier and I made it amongst a bunch of other tracks which kind of got forgotten. I heard it back again a bit later and it really stood out, it was just before Id gotten a proper drum machine. I remember wanting to try make something that was more accessible with the melody, something deliberately dreamy and ambient inspired. Far Emote is a hybrid of sorts, the first 2 minutes or so are straight from my Elektron. The rest of the track is basically that first 2 minutes stretched out and elaborated upon, and I felt I really achieved something in that one which i hadnt before. Those last two remixs are pretty darn special and speak for themselves.One thing I can say about Timmus’s remix is that its for an orignal track of mine thats not yet released but we simply could not include it on there.And as for Vincent, Icing on the cake. Beautiful.
How are you living the current situation in Ukraine? Has your work affected you a lot? Do you think there is hope?
Being in Australia, I feel quite hopeless sometimes because I cant believe it is happening. It just makes me realise how fortunate I am to still be able to pursue the things I love, especially music.
What projects are you working on right now?
At the moment my main focus is Ben & I’s new label, Motion Theory Music, and putting together music for each next release.And of course my own music, which is a series of ongoing developments that wont be finishing up anytime soon.
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