A&H: Top show of the tour?
NW: That absolutely had to be Giant at Avalon in Los Angeles. Excellent night. Great club, great sound, great audience. I feel at home with the LA crowd and it’s obvious that I’ve got a very loyal fan base there, plus my favourite restaurant in the world is in Hollywood – “Blowfish Sushi”. You never know who’s going to turn up at shows in LA. This time around DJ Rap and her sister showed up at Avalon and every guy in the house was drooling over them. Also this bloke who’s a porno movie producer introduced himself. He actually specializes in making anal sex films – and not for the gay market – can you believe it!? He gave me a few DVDs to take home but I seem to have lost them somewhere… If I was caught by Customs Officers at Heathrow airport with material like that they’d probably think I was some kind of pervert and lock me up, or banish me to Wales.
A&H: “Shanghai” has been getting probably the best reviews you’ve ever had for any of your CD releases to date.
NW: It’s all been great and strangely nobody has slagged it off so far which makes a nice change. There’s always the occasional monster on one of those message boards but overall there’s been a very strong response. The initial sales reports have been very encouraging and I understand that we shipped 35,000 units in the first week.
A&H: That’s not bad in these days of doom and gloom in the dance music world.
NW: Exactly.
A&H: “Shanghai” is your sixth Global Underground release. For most DJs even one CD release on Global Underground would be a dream come true.
NW: Absolutely. I’ve always been a very loyal person and loyalty has its benefits, you know? I formed a relationship with Global Underground many years ago and so far they’ve given me no reason to go elsewhere. A lot of DJs tend to move around different labels and I don’t think that’s necessarily a good thing to do. I’ve given Global Underground my total support and confidence and in return they’ve given me theirs so you couldn’t wish for a better business relationship. Global Underground is a very strong brand name to be associated with and I’m seen as a Global Underground artist. I think that’s a very big plus for me, but it works both ways.
A&H: Some insight into a few of the tracks you selected for “Shanghai”?
NW: That’s a tough question… there are so many strong tracks. As a Bristol home-boy I was really pleased that my good friends Paul and Eels (Starecase) were willing to give me two new tunes, and “Vapour Trails” is getting such a great response in the clubs. The downbeat tracks I got from two young guys in Texas (Peter Martin and Derek Howell) are both standouts. I love the wind-down of the mix when it chills out using Peter and Derek’s tracks, and a track by Mercurio from Buenos Aires. It’s got to be the best closing sequence of an album that I’ve ever done.
A&H: The track that’s really been working for me is “Maleta” by Marcel Schoenbrunn.
NW: Oh yes, that’s another good one that’s been going down well in the clubs. It’s a very simple track, really, but that’s probably what makes it special. So often producers put too many elements into their music and it ends up being confusing. Marcel’s from Germany and I met him not long back ago at a club called Tribe House in Dusseldorf that’s probably the best progressive club in Europe right now. He was so excited that I’d put his track on the new album and it was great to meet him. Nice guy, very talented, and definitely a name to look out for.
A&H: What about the inclusion of “Acperience” by Hardfloor? That was originally released back in 1992. Some of the people who are listening to “Shanghai” weren’t even born then.
NW: It’s always been a favourite track of mine. I can remember hearing it for the first time and being so excited about being able to play it out in a club. It’s just a timeless piece of music. Very few producers got the Roland 303 right, but there’s about seven or eight 303 lines in that track all played at the same time and layered over each other. My intention with “Shanghai” was to feature lots of new young artists and their music, but I also wanted people to understand that there was great dance music being produced years ago, probably when they were still at school. “Acperience” is almost like a reference point to state that it’s not all about the music that was just made this month, you know?
A&H: I bet some of the people who buy “Shanghai” have parents who used to dance around to “Acperience”.
NW: Isn’t that the truth? That’s mad! The whole dance scene seems to revolve around ‘unavailable music’ being played out by the DJs; it’s all about playing stuff that nobody else has got. Whereas I think that element is important, and it’s also important to constantly push the boundaries, there’s nothing wrong with occasionally breaking out something that still sounds amazing thirteen years on. It also gives me a chance to give some respect to producers that influenced me all those years ago, and maybe even earn them a nice unexpected royalty bonus.
A&H: Do you feel that “Shanghai” is a true representation of the music that Nick Warren actually plays out in the clubs?
NW: Yes I do, because I play what I like to play. I’ve never tried to convince anybody that I’m a ‘deeper’ DJ just because that might make me appear to be cooler, or whatever, and I think that’s what a lot of today’s DJs get worried about. They want to be perceived as being artistically clever – which they very probably are – but sometimes they can forget that their principal job is to rock the crowds.
A&H: There’s a lot to be said for product presentation and visual appeal. The graphic designers did a great job with “Shanghai”.
NW: Yes they bloody well did! The cover, the photography, the works – it looks fantastic. I’m really, really proud of it. Fact is that these days you’ve got to make people who are prepared to spend their money on a CD feel like they’re buying something special. I’ve got no problem at all with people who prefer to pay for music by doing legal downloads because that’s the way the world is now, but there’s still a lot to be said for actually buying the physical product and feeling proud to own it. Years ago your mate at school would dub a cassette of a new album and if you liked it you’d save up your money and actually buy the album because you also wanted to own the cover. We’ve all been there.
A&H: It’s difficult autographing downloads, right?
NW: Exactly, and there’s another good reason to buy the CD!
A&H: When we all dubbed cassettes for our friends back then we never considered it as doing something illegal.
NW: There was never any element of shame attached to it I suppose, but it was obviously wrong when you think about it now. The general attitude against music piracy is gradually changing but it’s already become a huge problem for the entire entertainment industry. Every time a new code is introduced to prevent copying of legitimate CDs or DVDs some whiz-kids seem to think they’re being clever by finding a way around it, and letting the world know via the Internet. If they’re that clever then surely they could be doing something more productive with their talents and time. Those sad f*****s must enjoy watching movies and listening to music like anybody else so why are they trying to damage the entire industry for everyone? It makes no sense.
Photo by Sam Perez - Nick Warren at Ruby Skye, San Francisco
A&H: My computer got hit with a Trojan Horse bug last year and it was a miserable experience. All I could think of at the time was why did somebody with such an obvious knowledge of Internet technology devote their efforts to create something so destructive.
NW: I couldn’t agree more. The Internet can be your best friend and your worst nightmare at the same time.
A&H: Just before you began this Global Underground tour you performed at one of your favourite festivals, good old Glastonbury. I think we all saw those pictures of the mud-caked revelers. You played at the silent disco and there have been very mixed reports about the whole concept. What happened?
NW: It was odd… The Glastonbury event organizers have always had a strict understanding with the police and local residents that the PA systems will be shut down by midnight, which I suppose is fair given its location. The concept of the silent disco seemed to be wicked but in practice it was weird. It was organized by a bunch of guys from Holland and basically the DJ mixes only in the headphones and the crowd wears wireless headphones to hear the music. The first problem was that there was no bass, and that’s crucial to feeling dance music and making you wiggle your bum. The other problem was that were two channels of music available but you needed to know how to select between one or the other. Glastonbury is a rather hedonistic weekend and most of the people who came to the silent disco were in no fit state to figure out the highly complex two-way switch on their headphones. So I’m playing my set and there’s all these totally muntered people looking at me spinning and trying to figure out why they were hearing Wham! and Spandau Ballet. There was also some kind of silly European guideline that had to be adhered to which restricted the actual volume in the headphones so the audio level was really low and there was nothing I could do about it. An interesting experience but it didn’t really work. I don’t think I’ll do it on a regular basis.
A&H: You lead two very distinct lifestyles. You’ve just spent three weeks on the road dealing with all the madness that your work throws at you, but 48 hours from now you’ll be back home near Bristol in England being a good Daddy and doing the morning and afternoon school runs.
NW: That’s what keeps me level headed and doesn’t turn me into a total knobhead, which sadly is what loads of DJs do become.
A&H: I’ve heard that you’re taking on a new task and will be doing A&R for a well-known dance label.
NW: Your information is correct. Hope Recordings. I’m signed to Hope Management, I’ve worked alongside Hope for years, and I’ve always wanted to work in A&R. I’ve already got loads of good stuff lined up. I got a track in just last night from an artist in Argentina called DJ Paul that is superb. I’ll play it out tonight and see what happens.
A&H: You mentioned your friends Starecase a few minutes ago. I’ll never forget how much I laughed when they recorded a wicked track called “Hopeless” a couple of years ago.
NW: That was brilliant. Hope Recordings actually released it, too! Class.
A&H: It’s a strange time for independent record labels. Without wanting to sound negative one of the UK’s top imprints, Tune Inn, went bust a few days ago. The reasons they gave were that they can’t fight the MP3 revolution any longer and that vinyl sales are simply dying.
NW: Right... I think it’s a case of just being sensible. Thankfully I’m in a privileged position where I constantly have access to brand new tunes from all over the world, mainly because of my travelllng. I probably get most of them first and get a chance to play them out to see if they work on the dancefloor, but even if they do initially work you’ve still got to be very careful about the music you actually sign. People still want to buy good new dance music but an independent label can’t afford to put out two or three mediocre releases because it simply can’t afford to deal with the loss in sales figures that might cause. Plus it could lose the confidence of their loyal DJs, record buyers, and their distributor. I don’t think there’s any big secrets or hidden science about it, but at the end of the day I believe it all comes down to good A&R.
Photo by Chris Molina - Nick Warren at Giant/Avalon, Hollywood
A&H: In defence of the MP3, i-Tunes and downloading revolutions these mediums must have finally given many new artists a chance to distribute their music, get some exposure, and hopefully make a few dollars for their efforts.
NW: Agreed – as long as they fully understand the business side. However, just because you may be able to rely on a few downloads to pay the bills it doesn’t mean that there’s a place for average music. I think we’ve been through two or three years of boring dance records being released with high sales expectations, and that’s just not reality.
A&H: Last time we spoke with you, during the Way Out West tour, you and Jody made some very positive and interesting comments about the way the Xone:92 DJ mixer was being used in the band’s live shows. Now let’s talk about Nick Warren the DJ and the Xone:92.
NW: It’s a fantastic mixer, and it’s the best there is. I’ve totally got my head around it. It’s on my show rider wherever I play and I’ve used it on every date during this tour. I had an interesting conversation last night with the sound technician at a club in Washington DC. He told me that some DJs still request a certain other mixer, but the Allen & Heath mixers are so far ahead of the game. They bring a dynamic sound to the room that is perfect. As a performer, the Xone mixers can make things so simple for the DJ. They don’t have all the stupid sound effects, but the filters and the EQ are wonderful. My job is to play up-front music and make people dance. I have very little control over the sound system, but I do know that a Xone mixer will improve the listening experience of what I play for the audience. Understanding how to manipulate the EQ and filters definitely makes my performance more creative, and when I’m having fun in the booth there’s a very good chance that the crowd will be having a good time too. That’s what it’s all about.
A&H: Your own website is finally up and running. It looks good.
NW: Thanks. I suppose I should have done this a few years ago really, but now that it’s a reality I’ve become addicted to it. I go online almost every day to check out the message board.
A&H: What does your daughter Esme think about her Dad’s job?
NW: Esme’s only seven-years-old but I think she gets it… I’ve taken her to a couple of festivals. Obviously Esme doesn’t like me being away from home so much, but she definitely loves music. She also loves playing with my Mac and surfing the Internet. She’d learned how to spell Google before she could spell animal!
A&H: What is your problem with New f*****g York?
NW: Oh dear… I think I must be cursed. I did something very bad in New York a long time ago, which I won’t go into here, and I reckon my sins have come back to haunt me. Manhattan’s revenge, probably. I’ve missed out on two big shows there within eight months. I got stranded in London because of heavy snow at Heathrow last December, and I got stranded in Toronto because of thunderstorms last week. I was gutted because I was booked to play at a club called Cielo in Manhattan which I’ve heard great things about. I will return!
A&H: Speaking of sins, it’s confession time: are you or are you not an Electric Light Orchestra fan?
NW: Yes – I confess, but that’s no sin. I loved ELO’s music years ago and still listen to their tunes because I know all words, the production work was brilliant and they sound good to this day. When you consider that ELO’s big hits were probably recorded about twenty five years ago, and the studio technology that was available at the time, it puts a lot of today’s music production values into a clearer perspective. I actually included an old ELO track in a promo mix CD recently. You’ll have to dig a lot deeper than merely exposing my admiration for ELO to embarrass me, mate!
A&H: That was my best shot… I liked ELO too, actually.
NW: Well-produced music ages well. If people are still listening to the music I’ve produced with Jody (Way Out West) twenty years from now I’ll be a very proud man indeed.
A&H: The word on the street is that Nick Warren is bang on form right now.
NW: I’ve never felt better or more positive behind the decks, quite honestly. The quality and diversity of the music that’s been coming my way during the past year or so has been outstanding and obviously that’s had a huge influence on the sets I’m able to play, and the crowds’ reactions. I’m enjoying life.
A&H: Have a safe trip back home to England, “Shanghai” is fantastic, thanks for your support of Xone DJ gear, and please send our love to your daughter.
NW: Thanks very much, I will, and many thanks to all at Allen & Heath for their solid support during this Global Underground tour. It was really appreciated.
A&H: Our pleasure. Big respect to Nick Warren.
All text and interview by Nick McGeachin
Special thanks to Leon Alexander
Photography and images courtesy of Chris Molina, Cornel, Sam Perez, Global Underground and Hope Management
Links:
www.djnickwarren.com
www.globalunderground.co.uk
www.hoperecordings.com
www.wayoutwest.co.uk
www.excession.co.uk
www.tca-web.com
www.giantclub.com
www.avalonhollywood.com
www.blowfishsushi.com
www.starecase.com
www.mercuriomusic.com
Original photography contacts:
www.thegroop.net
junkiexl99@yahoo.com
samfashion@comcast.net
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