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Joel Mull: Sound Architect

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Yeah definitely! Now what are some releases you have in the works and what labels are you looking forward to releasing on in the future?

I just released a 12 inch recently – one of my first this year – for Mood Records, Nicole Moudaber’s label. There is also a 2nd EP coming out on the label as well. Nicole asked for tracks for maybe a year ago and I said I would love to work on something and then I tried to kind of sculpt it for the label. I always find it difficult to describe my sound but the release is maybe a little bit modeled after myself in a way – how I play – it is kind of Techno but still deeper.

I do have a second solo release for Last Night on Earth, Sasha’s label which is getting mastered as we speak. I’m working on a new Drumcode release for Adam Beyer and it is nice to have these platforms where I can kind of sculpt the sound a little. Last Night on Earth is going to be a little deeper and melodic and then the Drumcode release is probably going to be a little bit more pumping and techno leaning. There is like a flow – like if I would play them in a set I could start deep and go techier and more techno and then go down again. It is always nice to work towards a sound spectrum – you know the labels and their sound and how to tailor it a little bit. I’m also working on a project for Victor Calderone and Mike Frade’s Waveform Recordings. We have a listening session and see if there is anything to work towards. I’ve done a lot of tracks and we can listen through them and put them aside and pick out which tracks they like and which I prefer. I also have some secret stuff as well which I can’t tell you anything about but it is a fun project. It’s a freedom in the studio.

Now I see you did a remix of Carl Cox’s Avenger a little over a year ago on Intec, how did that come about?

Carl asked me if I was keen to do a remix for one of his album tracks. He made an album and I think it was 2 years ago or something or more probably. There are 2 remixes and my remix I made a year before it got released actually – so he sat on them for a long time so he could play them himself and stuff.

I played for Carl’s nights in Ibiza and his Revolution party and I was really happy to hear that he wanted to get remixes from me – I think I put my own signature on it. The track came out and it did really well as well – I’m happy people played it!

That’s great! Now do you think that artists such as Carl Cox, Richie Hawtin, Chris Liebing, Adam Beyer, and many others and the brands that they are associated with are such a huge force in the electronic music scene that the younger generations are going to cross over from EDM and start listening to Techno music? I think Deep House is definitely starting to bridge the gap but what about Techno?

Your right! This EDM thing – it has always been the case. The big brands of things have always been like the puller – it’s like any other brands out there. You go for it and it’s something that keeps drawing you in in a certain way. What’s going on in EDM is just beneficial for everyone because people will fall through the net and discover what is actually underneath – the deeper sounds. You mentioned Deep House being like a new thing amongst the EDM DJs – but you know…I really despise the name DJ, I really don’t like the label DJ. It is an old name which everyone is now kind of taking. Everyone is a DJ nowadays – your grandmother, your mom is a DJ, everyone has an app on their phone now, I’m a DJ.

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Where I come from it’s not the same thing – I would say you should call it Sound Architect instead. Trying to create soundscapes and different imaginations from what people are used to – that’s something I find more interesting. The DJ culture is over! It doesn’t stick anymore! I think it is just very worn out. I think it is a good time and I think everything has a positive effect at the end of the day. I get to be invited to the big, big festivals like Electric Zoo to play and maybe there is a kid that has never heard something like I was playing. He’s only heard someone else on the big stage and he can almost always predict what they are going to play. He is going to sing along and he knows the lyrics but I don’t want them to sing along, I want them to close their eyes and not sing along. I kind of forget where they are a little bit. It is supposed to be an emotional message.

I know the term DJ originally came from radio where you were a track selector and you just selected the tracks and you just put them on the radio. That is where DJ or Disc Jockey came from in the origin. When radio first started there was no mixing and now it is more of a manipulation of sound – when you DJ you are taking that sound and you are manipulating it and you are sitting there and making it into a whole new sound. You can take one track and mix it with 2, 3, 4, or however many tracks now with the technology that is out there and you can mix it with many different tracks and kind of create a whole new sound off of that.

It is fantastic! It is amazing! I embrace it! I love it! It makes it easier and accessible for everyone to be able to create. This is a good thing and it is art and at the end of the day you have a piece of paper and a tool to write and create something. Same thing goes with computers or synthesizers or record players or whatever it is. You create sound and you bring in colors to it. You put them down in a sink of water with color and it comes out in a different shape or form. This is the thing I love with Techno because it doesn’t have a stamp, like “oh! This is Techno.” For me, Techno and electronic music is this open, vast spectrum where you can choose and it is very very powerful! That is what people tend to forget – people forget what they’re doing up there. I’m on a different mission than the main stage guys.

Continued on page 3

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