BOYS NOIZE - KEEPING IT FRESH
Note: this interview was originally produced for pulseradio.net, published 14 December 2012
Equipped with a new album, ‘Out of the Black’, and a massive touring bus, Alex Ridha (Boys Noize) is taking his new live show on the road. A name now synonymous with techno music, Ridha continues to deliver his raw blend of abrasive, electro tracks to the masses, a sound he crafted in Berlin at a time when minimal techno was given maximum hype. Now, at only 29 years of age, this Berlin-based DJ and producer has a string of awards under his belt (including Best Electronic Artist on Beatport 3 years in a row) and is just as likely to be found in a dark, underground club as he is on the pages of Rolling Stone magazine, or even BBC.com.
On one of his only days off in a month-long North American tour, Ridha talks about bringing the rock to the electronic world, and how he keeps it fresh despite such commercial success, even with the likes of Snoop Dog among his long list of collaborators.
Pulse: You’re in the middle of your first live tour through North America and you’re schedule has you playing almost every day for the month. How’s it all going?
Boys Noize: “It’s been crazy so far! And I’m a little tired today. I started in Europe, did 6 weeks there, and now the same over here. A gig every day is pretty crazy. I’m on a bus right now with a whole crew; like 10 people. So you really get in to this whole rock ‘n’ roll style, and you feel like the Rolling Stones or something sometimes.
A big bus packed with people is a very different style of touring for a DJ. How are you finding it? Do you prefer to tour this way?
You just get in to the zone. But I love it I have to say. You know what, it’s the first time I’m on a bus like this. Before I was always alone and mostly flying and stuff. But yeah I do enjoy it now. It’s nice. There are pros and cons, like the fact that you can go to sleep straight after a show if you want to (which doesn’t happen that many times though). I don’t have to fly. I can just go to my bus and hang out there. And now that I’m doing more of a concert, it’s an earlier night. It’s not like I have to DJ till 5am. Usually the concert starts at 11pm so it’s a little earlier.
You’ve replaced your DJ sets with a new live show. How does that compare with your past performances in terms of what your audience experiences?
Oh that is actually a good question. I’m a DJ that likes to rock the people and stuff, and with the live shows it’s the same kind of attitude. But I feel that a lot of my fans are really happy to finally hear a full set of my own music. Because when I DJ, I mostly play very new stuff, and I'm not going to play a track I did like 5 years ago, you know. After my sets sometimes people come up to me and it's like, "Oh you don’t play this song or that song". But that’s cool. Now, the whole time is all my own music – old tracks, new tracks all matched together. So it gets pretty punk rock. People are moshing and stuff.
Does that affect how you play or inject you with a new energy for what you do? And do you prefer a live set?
I do prefer playing my own music the way I do it now because I have way more opportunities to change my stuff. And do so much more. But I wouldn’t say I prefer playing "live" to my DJ set; just when it comes to playing my music.
What other elements have you introduced to your show to create the full Boys Noize live experience?
When I started to play with the thought of a live show, I wanted to also bring a show where people could get in to my world. Musically, as I mentioned, it's all my own music and I have all the different elements I can play around with. And then I have a visual aspect as well.
One of the inspirations was old Kraftwerk concerts. When they played they always had visuals that were triggered by the music they were playing. And it makes so much sense. It’s a very specific aesthetic. And I wanted to make that too. Because what I've experienced is that you go to a lot of clubs or festivals and nowadays there’s huge LED walls but the content is so random. So I wanted to take control of that. I’ve been working on it for almost a full year to create that and to be able to trigger that with my music.
And then there’s the whole stage set up which is kind of epic. That was more inspired by bands like Metallica, their concerts and their crazy stages. I wanted to get that kind of vibe for my show too. There’s a big skull that was always connected to my music. I used it on my first album and always when I played. My friend Siriusmo, who is a producer and also a good friend, he designed a new skull head, more minimal and raw, that I am performing out of. And there’s the lighting which is also really on point with what I do and, yeah, it's a full show.
This U.S tour will be followed by Australia in March for the Future Music Festival. When you are part of a festival lineup, in particular one that includes a range music genres, does it becomes more about the show than the sound? And do you feel that pressure to “perform”?
Oh yeah. Of course I feel it. It’s just what everyone is doing right now. I’ve been lucky enough to play over the last couple years just as a DJ. I just go up there and I’ll wear my hat and I’ll play CDs you know. But now, especially over here in the U.S, it’s crazy. Everyone is like, "Yo, I have the bigger LED wall than you", you know (laughs). And it feels like it’s not so much about the music anymore. It’s more about the entertainment, or what’s happening.
But it’s all fine and I think that’s fair enough for the people. But that’s why I created my show. I think if you make it right, and you kind of use it as your own, then it gets really great then as well. And it can be something really exciting.
The tour ties in with the release of your new album, ‘Out of the Black’. The sound is a little closer to your first album, 'Oi Oi Oi' (2007), which really exploded you on the scene. Can you explain a little about that progression between your three albums?
On the first album it was really just a collection of bangers that I had done in the time of 2005, 2006, and 2007 as well. Just like a lot of noise (laughs). I live in Berlin and at that time minimal techno hype was just so big and everyone was playing minimal and it was so boring and I wanted to do the exact opposite in a way. The first song on the album I started with the most maximum noise you could imagine. No one had done it that way. Right away you want to stop the CD kind of thing (laughs).
There are a lot of tracks like that on the album. I never learned how to produce really. I never went to like an engineering school, or anything like this. I taught myself everything. So there are a lot of pretty rough tracks on that album. But when I was working on my new album, I listen to it again and I still love every little bit on it.
And the second album ('Power', 2009) I released very shortly after the first. And they were just tracks that I did while touring, and a few other tracks laying around. I also tried out a little more on the electronica side of things. A couple of techno tracks on it as well. Still banging of course (laughs).
And then with the third album, it was funny, because it was the first time I listened to my stuff a lot. You know I’ve also released that other Remix album where there are two CDs of my best remixes (‘THE REMIXES 2004-2011’). So I had that moment in my studio where I was amazed by my own music (laughs). I have done so many tracks and I still love everything about them.
So I wanted to make a new album that had that vibe, something that I can listen to in 5 years again and feel amazed by it. And not to be too much orientated to what is going on right now. I think music, especially in the whole American EDM, is very functional, and I did not want to go there and do that as well. So I just kind of locked myself in and did my thing.
Boys Noize originally become known for a certain sound, as you say, that “banging”, abrasive techno which fans love and, to a certain extent, expect. How far can you push it under the Boys Noize banner, and what point does it become too limiting?
Oh, I think, you know, that's something I can still do. Like my Feist remix for instance in 2007. Since then everyone who asked me for remixes, all the labels, were like, “Can you do something like your Feist remix?” And the Feist remix, and that time, was a more unusual sound for me too. I thought of it as a smooth, disco remix or whatever. So when it comes to remixes I always try to do the best in what fits to the music. And when you listen to all my remixes, that’s when you see the whole aspect of my sound; the full range. Even though there are all different styles, there’s a certain sound in there in the end. And I guess that’s what really makes it my thing, even though I do go to different styles. On the new album there’s even one rap track with Snoop Dog. But I think people are happy because in the end there’s one thread line that holds it all together. That’s my ear, my sound.
Where do you find your inspiration to try new sounds and rhythms?
I always look out for whatever new machines are out there. I have a studio with a lot of analogue gear. I’m always interested in the newest technology – from machines to plug-ins – and ways to create sounds; or combining old things with new things. That’s the nerd in me. But electronic music for me is just about sounds. It’s not about writing the perfect song, or putting down the nicest melody. It’s about a sound. And that can be knocking on the telephone right now, recording it, and making a beat out of it. That’s what I love to do.
You have been collaborating with so many different people, from Skrillex to Scissor Sisters, and then there’s the release on Cocoon. Are all these collaborations strategic choices, or do you just try it all out and see what sticks?
You know, I’m always open-minded about trying out new things. Pushing the boundaries for myself, even surprising myself. For me its important to work with people who are inspiring to me as well because I want to learn something in the studio too and create things that I haven’t done before. And sometimes it’s a lot of fun to work with someone else, especially when it's somebody I’m a fan of. Or someone I can feed off as well. I’ve had a couple of moments in the studio when I feel like I’m the only one doing something. With the collaborations I’ve done I've worked with people I love, or people from different worlds than me. You try and create something new.
You were quoted in a recent interview with Rolling stone, saying, “EDM feels too generic for me sometimes and a bit soulless." How do you walk that line between keeping it “fresh”, as you say, and soulful when you’re collaborating with some of the commercial giants, like Snoop Dog?
Yes. Well, for me the big challenge was really to show people how to make something really fucking cool with Snoop Dog. And to show that it is possible to make something super tasty with him. Everyone would probably expect that he is going to make a big chart hit or whatever. And right now a big chart hit means you got to make like a big electro-house inspired song with a big breakdown that turns in to a song and then it goes back to the build-up and then the crazy part comes and stuff like that. I always try to surprise people and not do what people expect in a way; but also satisfying myself as a producer. Especially with the songs with Snoop Dog. I’m so proud of it because the beat, I love it so much. His flow and his rap are just so good on this. And that was something important for me too – to make him sound good as well. Just because he’s done so many cheesy tracks in the last few years, that was the challenge too.
You were born and raised in Hamburg, you now live in Berlin, and Germany is still your favourite place to play. Have you ever been tempted to move on, or what keeps you so grounded to Germany?
Well, it’s maybe more the comfort right now. I feel comfortable living there, all my friends are still there and my dog is there. The dog is so old and I can’t really fly her out anywhere. But to be honest, I travel so much, it’s not like I spend all my time in Berlin. So it’s just great to feel like there’s actually a place called home.
But I’m open to try out new things, just time hasn’t allowed me to do it yet. But yeah, maybe. You know I’ve spent some time in Sydney as well. The last time, actually every time I'm touring Sydney, I stayed for 2 months. I do the tour and then a stay for another month. I like to do things like this. I’m very, very happy to do things like this!
What are your big plans for next year?
Well next year there’s going to be a lot of releases. I’ve got a lot of records to come out, and there’s a lot of remixes. The Chemical Brothers, one of my biggest, biggest heroes in the world of electronic music have done a remix for me, and it’s going to be the 100th release on my label, Boys Noize Records. I’m really happy about it. Chromeo just did a remix for me, and people like this. And yeah, just a lot more cool things on the label. Then there’s my tour next year. I’m pretty much on the road all summer.
Note: this interview was originally produced for pulseradio.net, published 14 December 2012