With "TEAR IT ALL DOWN"Oli Freke celebrates his debut at lorenZOO and introduces himself to the Royal Plastic Music Group family. Find out more about him with our special "7 questions to Oli Freke".
1. How would you describe the Oli Freke style?
I think my style is dance music with a bit of depth, but always with a focus on the groove.. Anything in the techno, house, electro spectrum does it for me, so even unconsciously those are the kind of sounds and styles that come through. Plus lots of analogue synths!
2. Which music decade shaped you the most?
Hard one! Growing up, I was into the classic '70s electronic music of Kraftwerk, Giorgio Moroder, Tangerine Dream, etc - but then I discovered clubbing and dance music in the 90s, which shone a whole new light on it all! So, I guess the 90s really - the techno, acid-house, trance and drum’n’bass of London in the 90s made for an exciting place to be.
3. Which animal represents you best?
I am a robot!
4. How do you start shaping a project or what inspires you to start with a track?
Usually the groove; without that, it isn’t really dance music :-) After that - finding a mood, being sympathetic to that and discovering what the track wants to be is the fun part. Then telling a story with it, if possible. I want the whole thing to be interesting, as well as giving the DJ what they need for the dance floor.
5. Why you choose "Tear it all Down" for your first collaboration with lorenZOO?
I think Tear It All Down fits in with the deeper sound of lorenZOO, where tracks are allowed to take a bit of time to unfold and create a journey for the listener. It works equally well on the dance floor as music to listen to in other contexts.
6. What feelings do you expect from people when they hear "Tear it all down”?
I think it has a slight air of mystery, which will hopefully draw people in and make them want to hear more. The song is actually a declaration of passion - ‘I’ll tear it all down for you’ - hopefully people will feel that though both the music and lyrics!
7. From your point of view, what is the current situation for electronic music?
There’s always something to be excited about - I saw Robert Hencke (aka Monolake) a few weeks ago performing incredible experimental techno using five IBM computers from 1980; and then Floating Points at Printworks was the other end of the spectrum; completely contemporary modular synth set-up with a dance crowd going nuts to it. People who complain about current music ‘not being as good as the past' or some mythical golden age don’t get out enough!
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