Kao glavna zvezda progressive avanture, u subotu 29. decembra, u okviru šestog Central Dance Event-a, nastupiće sofisticirani mag elektronske muzike, Patrice Bäumel.
Kao dugogodišnji rezident legendarnih klubova Trouw i Club 11 pokazao je sklonost ka nekonvencionalnom pristupu miksanju, njegov stil se posebno izdvaja kroz kombinaciju emotivnog sadržaja i britke tehnološke preciznosti. Iako je poreklom iz Nemačke, Bäumel je jedan od najpopularnijih predstavnika amsterdamske scene.
Imali smo to zadovoljstvo da popričamo sa Patrice-om. Intervju prenosimo u originalu na engleskom.
You are DJing since 1994 and producing for 15 years? Huge respect. Is there a one particular event or life decision which you will describe as a break-through of your carrier?
Probably participating in the Red Bull Music Academy 2002 in Sao Paulo. It was then that I realised music was my calling and that producing was something I wanted to give a try.
We were interested on how would you rank the work done on Balance Mix CD, the BBC Essential Mix and the Depeche Mode remix? For the record, we were astonished!
I wouldn’t rank any of it more or less, all of these are steps on a journey, I value them all equally, just as much as the many steps that did not lead to any kind of success or public recognition. Sometimes life feels like you are riding a wave and everything comes to you easy, other times it feels like an uphill battle. The trick is to stay balanced and grateful, no matter what.
Would you ever go back to being a club resident, or you like the life on the road more? Pros and cons?
I would not want to do a monthly club residency again, at least not how I feel right now. There are too many places in the world to travel and play for, I would not want to miss out on them. However, I do like to come back to my favourite places once or twice a year.
When travelling, I quickly realised that every country needs its own approach. I play totally different sets when I’m in Buenos Aires compared to London or New York.
The pro of a residency is that you really learn the basics of djing when playing to the same crowd many times over. From warming up to closing the night, to do all of this well takes many hours of playtime in front of people. It’s a good time to build a really solid record collection. The main disadvantage is that being stuck in one place doesn’t teach you about other crowds. When travelling, I quickly realised that every country needs its own approach. I play totally different sets when I’m in Buenos Aires compared to London or New York. The only way to gain this sort of experience is through spending years on the road. Also, getting to know other cultures is one of the greatest gifts for a travelling dj – if he or she wants to. You could just as easily shield yourself off from these experiences and see nothing but planes, hotels and backstages. It’s up to you.
At the end of the day a complete dj needs both, time spent at residencies and on the road.
As a producer you have released your music on labels such as Get Physical, Kompakt, Correspondant or Crosstown Rebels. “The Hatchet”, your last work, has been released on Afterlife, how would you define it?
A plug and play peaktime weapon.
We found out that you “hold three people responsible” for helping you get the 1st record done – Riley Reinhold, A&r of Traum Schallplatten. How did they help?
I hold only one person responsible, Riley. He helped by taking the time to listen to the demo of a total nobody, of trusting him and helping him get that demo to a level that is release-worthy. Every novice needs someone to give him a break. I will always be thinkful to Riley for being that guy to me.
Today, it is so rare to meet someone how actually succeeded to turn his hobby into a career. This is exactly you have done after graduating RBMA in 2002, is that right? Can you tell us what did you felt like in 2002 and what are your feeling now after 15+ years of producers life?
Back then I didn’t even dare to dream big, I was happy playing once a month in a bar while holding a 9-to-5 job. Seeing other people going for the dream of a career in music was a huge eye opener.
Sometimes life feels like you are riding a wave and everything comes to you easy, other times it feels like an uphill battle. The trick is to stay balanced and grateful, no matter what.
Today, I am much more confident. I know that as long as I make a positive difference in the lives of many people, passion, goalsetting and execution is all that is necessary to make big things happen. I know the importance of working with the best people in the business. I know that success no longer is based on luck. I feel in control of my situation, which is one of the most important ingredients to happiness.
Are you planning something special for the Serbian crowd? It is a New Year celebration, it is that time of year for a “new” music decisions 😀
I will turn up with bombs and bring my A-game. The rest happens in the moment. I will simply be myself and not try to artificially induce any kind of ‘new thing’ just because the number on the calendar changes from 2018 to 2019.
When someone on the scene is as long as you are, the person becomes the witness of all the changes happening on and around the scene. Is there something that has not changed?
People dance when the music is good.
Do you have any track/album obsession that is for some time with you on the road, that you want to share with us?
I’m not obsessed with music. To me, music is a tool, a language to create connection with other people. People and the energy that comes from them are my obsession.
What was like growing up in East Germany? What music interests did you father transfer to you, what are ones you didn’t liked? We have read that he was a music journalist and that he “was guilty” one?
Being a kid in East Germany was probably very similar to being a kid in Yugoslavia, except that I was fortunate enough to never live through war. Life was simple, restricted, fun, sometimes easy, sometimes hard. You get your heart broken, you get your ass kicked. I had a normal childhood.
Every novice needs someone to give him a break.
My dad taught me to listen to and understand music and the emotion that it evokes. He did that by simply playing a lot of it and exposing me to as much weird stuff as possible. I think most of the stuff my father played was too crazy for me, noise music, experimental free jazz, he seemed to like whatever the masses didn’t like. But subconsciously, that free attitude towards sound stuck with me and I feel comfortable ‘getting weird’ in my productions.
After a 11th years on the scene with Clubbing.rs, we often remember our beginnings … Is it good at time to look back or just forward and never look back?
Look back with appreciation, look forward with optimism and firmly remain in the present with your attention.
Patrice, Thank you for the time for this interview. C U 29th of december 😉