Page 18 - DemoZone Magazine Summer Issue 2020

We’re in very strange times with a huge
impactongatheringsatthemoment.Howare
you coping with this change at the moment?
Yes it’s all very odd - I’m finding it disconcerting to say the least, the uncertainty being perhaps the biggest factor. I’m obviously concerned that people should remain healthy and I understand that the main objective was to avoid large numbers of people becoming seriously ill all at once, which is a chilling prospect. Obviously large gatherings of people with the potential to infect each other is out of the equation.
This does mean however that for the moment that dance music’s reason to be is just not there. It feels a little counter intuitive to me to be making dance tracks if nobody’s going to be dancing to them, but I know that a lot of people don’t need to be in a club to appreciate the music, me being one of them, so it makes sense to keep coming up with material in the meantime.
With your gigs on hold, how are you looking
at binging in revenue by other means?
It is an opportunity to write new material, I have signed a couple deals with production libraries to write TV/film friendly type pieces which is an area in which I have dabbled over the years and quite suits my skill set as a musician; It’s a good time to write dance music to keep back for when things do start moving again, in order that we can be releasing when touring eventually starts to open up. Also I’ve done a couple of live online appearances as guest reviewer with companies like FMM (Finish More Music) and MYT (Make Your Transition) which have been hugely enjoyable and worthwhile; it’s so great to interact with people who are passionate about writing dance music, it’s infectious (in a good way!) plus I also end up learning stuff myself, of course.
I am seriously considering doing one to one production/ coaching sessions depending on whether there’s interest in this. I am in touch with people who are experts in this field and I think I have figured out how this might work. Amazing how everyone has suddenly become an expert in Zoom when most of us had never heard of it at the start of 2020!
So, now you’re investigating teaching
production skills, what’s the best way to get
hold of you to set this up?
Well you can get hold of me through my Facebook page or drop me an email at info@nickmuir.com. As I say this is early stages but the best way is to move forward and see if we can work something out.
What are you missing the most within the
music scene?
I’ve never known a time in which all gigs, concerts, shows etc have just stopped dead in 35 years of working as a professional muso. My working life has always revolved around stages and doing shows etc. so to see absolutely zip happening on that front is a bit of a shock. One thing you just
can’t download is the atmosphere and excitement of a live show-thisisreallywhatourbusinessisallaboutandthat’s what I miss. The travelling can sometimes be hard work and tiring but even that part of it I miss. There’s something about getting yourself together, getting out there, meeting people and getting yourself back having done (hopefully) a good job that’s very satisfying.
What about outside of music, what do you
miss the most?
Not being able to socialise has been a bit weird, not being in the same room as family members etc. It means I don’t have to drive though - and I’m always designated driver. I enjoy going into London from time to time for meetings, the odd shopping trip, galleries, shows and concerts. We are half an hour train ride from Kings Cross and a ride into town is quite nice from time to time. Also, we can’t go away together as a family which I miss, We have a real laugh together when we do.
You’ve been involved in compiling the Quottro album with John Digweed which also includes 12 tracks on Disc 4. How long did you guys work on this and is there a story behind Juxtaposition?
John does all the commissioning and compiling on projects like Quattro, but I have production duties and of course we conceived of and wrote Juxtaposition together. The original idea was born when Dave Malone (Bedrock art director) John and myself were having a couple of drinks after our Christmas lunch (thanks John!) - we thought a downtempo set using found sound and samples would be a good addition to a larger package, something different to offer people who are interested in and follow the Bedrock label and a style we enjoy working in. When your output is mostly beats and club material sometimes creating a different vibe is a refreshing and restoring thing to do.
Originally we started making a set of tunes with a more recognisably ‘chill’ feel to them which was cool, but John reviewed the tracks we had started and decided he wanted a darker atmosphere, so we started again. I enjoy this aspect of producing - you have to set to and write some material before you can make a judgement on which way you want to go. There’s no substitute for bringing something out of your head and into the real world in order to get a handle on it.
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