In Conversation: Zero Method Talks ‘Deep Fields’

How do you find collaborations? What was it like working with L33 and Optiv?

It’s really easy: if there is an artist that I prefer, I’m just simply asking if they want to work with me. Sometimes it was a bit difficult, because I use Reason and the others don’t, but as you can see we found a way to solve these problems. Usually I was the one who finished the tune.

I met with Dayan (L33) last year, we were playing together at a party and he spent a day in my studio before. We started a new tune and finalized ‘Frequencies’. He is a really cool guy with some amazing skills. Before we met, we had already done a tune together called ‘Biological weapon’ (released on Citrus), so it was just a matter of time before we made a new one.

I also wanted to make a tune with Ed (Optiv) for two reasons. Firstly, since the LP was going to be on his label, I just simply wanted him to be a part of it, and second, he is Optiv! everyone dreams of making a tune with Optiv! It’s probably, thinking about it, the thing I’m most proud of!

How much of a hand did he (Optiv) have in the making of the album, was he hands on or did he let you do your thing?  Did you make a pile of tunes and then whittle them down or did you go, ‘here it is, the album is ready to go’?

When I have contacted Ed about the LP he was immediately into the project. I remember he said to me that I should make some clips and after that we can discuss everything. When I sent him the first pack there was only one tune he was not sure about, and to be honest, I wasn’t either. The intro tune (Deep fields) was also in the pack, and I remember he instantly really liked it; it defined well the whole project.

So at that point we had like 6 tunes immediately for the LP. After that, there were some more tracks that I sent him, and he was fine with all of them He accepted everything and there were no wishes for modifications – so basically he let me to do my thing.

But I’m sure if he didn’t like something, he would tell me. If we summarize the things: I made 12 tunes and 11 of them are out now on LP, which is great I think.

How did you hook up with Red Light and Ed in the first place?

Everything started with my remix of his ‘Strangeways’ tune. I sent some tunes over and asked him if he would be up for me remixing that tune, since it was one of my fave tracks of his, and he said yes. Once I finished the remix we discussed whether I should make another tune as a second track and make it an actual release, which we did, ‘The Method’, my first release on Red Light.

Over the years I have worked with plenty of labels, but he was the only one who really took care of me and my releases, with promotion, support and even the human side of the whole thing – maybe it’s just because he went through all these things also. So it was just a matter of time before I got some more stuff on the label.

He’s a really supportive guy, so after that first release there were two EPs: Cold war EP and Groundbreaker EP, and now obviously, this album!

What is it about D&B that excites you? You obviously have the chops to work in any genre so why drum and bass?

I got into D&B like 15 years ago now, when C4C, Kemal, Bad Company and Ed Rush came out with this new “early neurofunk” sound. It grabbed me immediately and there was no escape: the high bpm, creepy sounds and fat basses that you can feel in your chest at parties.

After a few years I started making an online radio show and was playing almost every kind of genres in electronic music. On the side I played D&B with my friends, that was where everything started. I had so much fun playing and later making these tunes that I didn’t want to do something else, and I still have the same opinion. I still feel there are so many opportunities in this genre; I don’t want to change, yet.

What is it about mainland Europe and drum and bass at the moment? I mean basically anything that is anything is emanating from the continent rather than its spiritual UK home. Why do you think that might be?

I think this genre is renewing itself year by year. Nowadays these “micro percussion-funk” tracks are conquering the clubs. Short sounds, silly edits, 2-3 themes in the same tune, and its working, people are loving it! And now, almost everyone can be a producer thanks to the easy-to-use, advanced software, which means more and more viewpoints will join, and there will be new and newer tracks and edits we haven’t heard before coming from “smaller” countries. I think it’s important to have your own sounds (like typical Hungarian or German), so the people in the clubs can immediately recognise who could made certain tunes. Maybe it’s related to our origins, and what we used to listen too before D&B appeared?

Sounds legit. What is your favourite non-musical sound? And why?

Great question! Since I’m working in automotive industry, we are producing sport cars. So the sound what I hear and like the most is a definitely a diesel engine. You can hear and feel the power in that sound!

Zero Method’s ‘Deep Fields’ is out now on Red Light Records.