Well versed in exploring his own musical roots Cristoph isn’t really a new producer—he’s always been producing, even when nobody was listening. Having now carved out a sound that is increasingly identifiable, the young producer avoids dance music’s relentless march toward the new next thing by masterfully mediating through raw beats and textural trickery that gradually blurs the edges of genres; the focus on groove, mood and his typically intricate, hypnotic arrangements.
The Newcastle born producer has already had releases through labels such as Noir, Suara and Hot Since 82’s Knee Deep In Sound to become one of the most reliable yet exciting acts in the scene – upending every preconceived notion about what he should do next or succumbing to any single trend or genre. There’s both agelessness and versatility to his studio output that gives his 4/4 house productions points of triangulation rather than direct references, or risk of evoking direct nostalgia.
As a listener If you come looking for house in its most obvious form, this decision seems puzzling, but if you’re prepared to forgive Cristoph’s need to challenge expectations and genres and simply lose yourself in the groove, then its easy to discover his involving engaging talent. The inaugural edition of conceptual album series “8-track” that bears his name on Knee Deep In Sound may be set to confuse those still stuck in a world where house music and techno are separated by propped-up dividers but it will indeed only serve to showcase his strength as a producer.
We caught up with him recently at Creamfields to discuss the new album, touring and much much more..
Congratulations on the album. We’re huge fans. It’s been on repeat in the office. And on the drive here! How did the album come about?
Basically the start of the year – about January – I was starting to fall out of the love with the industry as a whole. It was a really strange feeling. I couldn’t quite put my finger on what it was. I had quite a turbulent year last year. My Dad passed away. He was my mentor in life. So that hit us hard. Harder than I realised. I spoke to Daley (HS82), and he mentioned a few things. We spoke to the Knee Deep In Sound crew, and they offered me this album. And it instantly gave me some focus. It gave me my passion for the industry again. I had a few ideas. I’d always wanted to write an album, but I didn’t think I was ready for what you would class as a full studio album. The idea behind it was still to be a bit more dancefloor led. But not peak time bangers kind of thing! My idea was to structure it how I’d structure a set. So it would go on a journey.
It is certainly that!
I try not to stick in one genre too long when I play, and that’s what I wanted the tracks to do. Both individually, and when you combine them together in the mix. And it went from there. They offered it, and I basically accepted it within the conversation; went home, told them my idea, and they were like: crack on with it! It went from nought to a hundred in like a couple of hours, really!
This is set to be the first in a series of albums, right? Did that add any pressure to the creative process? Being the first to take the reins.
To be honest when they offered it, I don’t think they had thought too much about the series concept. I never, never ever think what other people are doing, or what the label’s plans are. I’m myself, and I’ve got to get my story across. Get my music into people’s ears. And, I’ve got goals and targets which I’ve set myself, and that’s what I focus on. I don’t focus on what or who could be next. Or anything like that. I mean, it’s an absolute honour to be given the chance to write the first album. So it was pressure that way. But it was a nice type of pressure. It was nice to have, because to have someone like Hot Since 82 have belief in you is a big thing. It’s surreal. He’s someone who I look up to. Who I’ve looked up to for a fair few years now. Do you know what I mean? It’s perfect.
KDIS is certainly a label you’re synonymous with after several releases. Did you take a different approach with making the album as opposed to when you’re making a track?
It was kind of. When you write an E.P., you tend to do a theme over two or three tracks. Or you’ll just write some singles and you’ll think, yeah, a few of them could be tied-up. Even some labels you’ll give a bunch of tracks and they’ll chose three, four, five or whatever from that bunch. It just totally depends. I don’t think I have a way I specifically write an E.P.
So is that to say they gave you more of a free reign?
Yeah. Yeah, exactly. There was two tracks in there – ‘Closer’ & ‘Alone’ – which I had already sent to Daley. We’d been speaking about writing a bit more downtempo music over emails and texts, things like that. And I said I’d done a few tracks with cool vocals, and I sent them across. And they instantly wanted them. This was before 8-track was even mentioned. It was like last year I think. He even played ‘Alone’ at his ENTER. show at ADE last year – it was around then. So instantly they wanted those two tracks on the album. I had written ‘Catsy’ – the end track – and didn’t know what to do with it, with it being a bit more of a euphoric track. But when I was playing it in sets, it was going off! And everybody was messaging asking “what is this track?!” Videos of it were getting posted online. So that left five. So I structured a set in my head, and wrote those style tracks for that area of the mix.
For us a testament to great music is when you hear it for the first time in a sober state, and your serotonin starts firing – and that’s what happened when we first heard this mix! It’s full of peaks and troughs.
Yeah! Absolutely.
You’re playing Creamfields today, South West More tonight – no rest for the wicked! What are your plans after that?
Tomorrow I’ll jump on a train maybe mid-afternoon and travel back home. And then I’ll be tied down in the studio ‘til Thursday night. I’ll be looking to get between two and four tracks done this week. Get them ready to send out to a few labels who have been in touch. And then on Friday I fly across to America for my first time playing in the US. Playing Houston, then flying-out to play Nocturnal Wonderland for KDIS. The line-up is crazy for that! And after I’ve played there I gotta drive straight through to L.A. to play the Mixmag Lab. And then after that I basically in-and-around Europe: Ibiza, Germany. Back to America for a longer stay in December. Then I launch my own party on Boxing Day in Newcastle. It’s gonna be called Providence. A theme which is to do with fate. Like, “it’s my time” kind of thing. It’s a concept that I came up with alongside my management. I think I finish there and then fly straight to Brazil to play Warung with Sasha which will be a crazy, crazy gig!
You mention Ibiza. What have you got left before the end of the season?
I’ve basically just got one show left, which is VIVa Warriors Closing party on 25th September. It’ll be a really cool party. I mean it’s great to play for Steve (Lawler). I mean, Warriors speaks for itself. It’s been a mega party on the island. Sankeys is a great, great venue for it. It’s very well suited there. I’ll be there – I dunno whether to stay there a couple more days, and maybe get to DC10? It’s one of those ones where you just go west! And end up being there a week! I’ll just see what I’ve got on my schedule. And then that’s it for the season. I’ll go back to the drawing board, and see what we can get planning for next year.
The North East is currently a hotbed of talent. Is there anybody else who might not be on the public’s radar yet we should be keeping an ear out for?
Yeah – can’t complain about that! The North East, there’s some great talent coming out of there. There’s a young guy: Deeper Than L. He’s putting some really cool music together. There’s another guy called Addison – Adam Christie – he another one who has just started to produce; he’s coming through producing some nice tech stuff. A lot of the North East crop coming through is predominantly tech house. It’s quite a tough sound. Obviously Patrick’s flying. Richy’s flying. And then there’s Jacky. Elliot Adamson -he’s in with Eats Everything now. So it is really hot! There’s someone who releases on Sudbeat – Lonya. It’s really cool. I dunno how long they’ve been about, but I really do like it. I get some wicked music from a guy over in Australia too, who’s just starting to learn the ropes. Dave Samuel.
I suppose Newcastle has a reputation as being a beacon for stag and hen weekends, which is unfair as it has so much more to offer.
I totally agree. That doesn’t mean that there isn’t great parties there. There’s a great weekly event called Loop. Patrick’s night Motion. But the main night for me up there is Shindig. It’s amazing! Been going for over twenty-four years now. I think I’ve been going since I was fifteen or so, sneaking in with my brother and sister. The DJs that I’ve seen there have completely shaped my vision, and my roots in this industry. But, you’re right, it is predominantly stag & hens – and a lot of students – and I think the whole Geordie Shore shitstorm has stung us on that one. It kills ya!
We have a similar stigma down south with the Towie-effect. But we’re firm believers that there’s an underground scene everywhere. You’ve just got to know where to look. And be prepared to look for it!
Yeah. You do. Newcastle’s not a big city. I think a lot of people think it is. But it’s not. The bars and the clubs are within such a short radius of each other. If you know where to go, and on what nights, you can see some of the world’s best DJs. Some nights even escape my eye, and I live in the city.
Right. You don’t necessarily want the nights that are top ranked on Resident Advisor…
No, you want something that gets about by word of mouth. They’re the best ones!
One final question: how important do you think it is for DJs to get on the dancefloor and experience nights from the other side of the decks? See what other DJs are doing. What other club nights are doing.
Opportunity wise, it doesn’t come around that often at this point in time. But it’s not something I’m going whinge about, dya know what I mean. I’ve chose this job. And I feel very, very lucky to chase my dream and being given that opportunity. For me, I do enjoy socialising. I do enjoy going out and meeting the clubbers. I’m a raver at heart. So that’s where I’ve grown up. Any chance I can get to stay and watch a DJ I’ll stay. I don’t think it’s imperative that DJs do that. I understand that some DJs out there travel a hell of a lot. So when they get the chance to kick back in the hotel room I completely get it. I’ve always believed that if someone’s supporting your track and you get an opportunity to meet them, it’s always good to put a face to a name. They’ll end up following you back on Twitter, or whatever. They’ll inbox ya. It’s happened with Joseph Capriati. It’s happened with Hot Since 82. We all follow each other on social media. Skream, Steve Lawler. And every now and then one of them will message me: “have you got any new music?” And that’s how you get music supported before it’s even released. It just helps build hype around your next release, and your name. It’s great to get the support of your biggest peers in the industry. That’s my take on it.
8-track gets a full UK release on Knee Deep In Sound 21/10.
Catch Cristoph at Space Closing Fiesta on Sunday 2nd October.