To mark our first anniversary as a podcast, we have the pleasure of bringing you some prime cuts of techno from one of Amsterdam’s most promising techno duo’s, TWR72.
TWR72 represents tough, stripped back and intricate pulsing rhythms with a big emphasis on groove. The duo hold the element of groove in utmost importance, and is one of the key elements that steers their label, Float Records.
The notion of groove is evident in their Bomphcast mix. It’s an hour of no nonsense serious techno that makes you move very easily, whether it be a bob of the head, a full blown stomp out or a bowel movement in happiness, something will move within you.
From the Bomphcast crew, thanks for the support over our first year. We appreciate it greatly and will continue to provide you with quality techno every fortnight for as long as we can.
– Fergus, Tillman, Liam and Patrick.
Q: You two have known each other since your childhood. Would you say having known each other for song long helps with communicating with each other when you produce/perform?
R: It is definitely a big plus because we can trust each other blindly. But there are always 2 sides on the medal. And because we’re really close friends for such a long time it can be difficult sometimes to also be business partners. But so far I can handle Tom pretty good.
T: We have the same kind of humor (although I don’t like the joke he just made) which comes in useful if you hang out a lot. We perform together for almost ten years so there aren’t any big surprises anymore. But every time it’s exciting again because I never know exactly which tracks Roger has up his sleeve.
Q: When did you two both begin to listen and experience electronic music?
R: I believe I was around 14 years old when I first got to a huge techno venue. That was actually with our close friend Merijn (Float Records designer). Tom was in his Death Metal period at that time. I already had some experience with listening to electronic music as I was practicing my DJ skills in my bedroom, but to hear such bombastic music at a big venue was really intense. Although the most intense part was waiting in the line and hoping to get in.
T: Another joke I wouldn’t make, maybe you can rewrite the part that we have the same kind of humor. I grew up in the 90’s and was a big fan of the hiphop sound which was the kind of music I intended to play on my brand new turntables (which cost a lot of saving at that time). But like Roger said, the first time I entered a big house/techno club in Rotterdam (Now & Wow) I was sold. Especially Benny Rodrigues was a big inspiration.
Q: 2016 started out very strong for you lads with your debut gig at Berghain. How was this experience for you and what did you take away from it?
Well, everybody who played there always says it was the best experience. That it was really intense. That it has the best crowd ever, best night of his/her life, best vibe etc. So we decided to secretly film in the Berghain during our set: http://bit.ly/1UfsTpE
But long story short: It was amazing to play a five hour set for a group of people who are open for everything (also sound wise 😉
Q: One of my favorite TWR72 tracks is your collaboration with the mighty Truncate. How did this collaboration come about and how was your experience working with the LA based power house?
It all went very fast. Teki Latex contacted us for the collab series on his label Sound Pellegrino. He wanted to match us with Truncate! We said to Teki we hoped for a better producer to collab with, but Teki convinced us to do it. So yeah Truncate had the opportunity to work with us.
No, this collab was actually like one big lesson of subtleness. Truncate is one of the producers we really look up to, because we believe he is the master of simplicity. Probably a bit weird to say, but we feel there is real soul in his music.
Q: You two run a record label, Float Recordings, whose main focus is “…the purpose of the groove. A groove is such a simple thing, but only with perfection can you give it character”. Explain your interpretation of groove and how it makes you feel when you listen to tracks.
Did we said that? Merijn, our designer, probably made that up. We should cut his salary. But a groove is difficult to explain. It’s either there or it isn’t. You have to feel it. For us the best tracks are the ones you can play during a night for literally hours and it still makes you dance.
Q: You hear a lot of people say that there is no money in record sales anymore. What role would you say independant record labels have these days, especially with techno?
We all know that there is not a lot of money in record sales anymore. We ourselves witness it as well. But if you do it right you can survive easily. It’s all about the details if you want your label to succeed or not. We think the main role for labels is to invest in new talents and let the techno scene grow. In that way you’ll attract more people liking techno music. Which will increase the sales, hopefully.
Q: Having seen nine releases already, Float Records is moving into its third year of existence. Whats plans for the label in 2016? How has the experience of running the label been thus far for you and what have you learnt from it?
Well, we have some solid new vinyl releases coming up after the summer, but first it’s our own release called ‘X’ coming in April with 2 brilliant remixes by Endlec. Starting the label was the best decision we’ve ever made actually as we finally could put out our own vision. Music wise but also in visuals and branding. We really try to set a new standard in design and music combined and don’t let us control by what others do. So we asked our friend Merijn to join us which gave Float a major boost. We feel that the techno scene is way too serious (baring exeptions) and we feel an urge to change that.
Q: Today, there is a saturated market for music. New producers and labels put out new material every day. From an A&R standpoint, and being producers yourself, how important would you state the quality of production has to be to stand out amongst the crowd?
That’s a bit tricky. Because the quality of music does not guarantee success. But consistent quality can be a guarantee for success. We think that’s what everything in life is about. Finding the right balance. http://bit.ly/1Wq8pZ5
Q: Something that I feel that is overlooked in music these days, especially amongst younger producer, is the importance of dynamics in production. A lot of young producers are being brought up on the assumption that loudness is good. How what advice would you give to the next generation in regards to quality audio productions and dynamics?
It’s actually not important what you teach them. The most important thing is what they teach themselves. I mean, do we need all the productions in the world to be with the best dynamics? Wouldn’t that be boring? It’s the same with Ben & Jerry’s ice cream. We don’t want a whole cup only filled with cookie dough. It’s the boring vanilla that makes the cookie dough shine.
Q: From your travels with music, what’s one of the most unique experiences you’ve had and one of the most scariest/nerve racking?
We always thought hitting by lightning during a flight in an airplane was the scariest thing that happened, but if you compare that to ‘playing for the first time in the Berghain’…
(hitting by lightning was actually much scarier)
Q: Sydney in Australia is currently experiencing a the fallout of lockout laws. Businesses and venues are closing and a music culture is in serious trouble. What are your thoughts on the matter and what would you say to a politician in regards to these laws?
We can imagine what an impact these laws have on Sydney’s nightlife and of course on the people. The nightlife is a big social event and therefore plays an important role in modern society. On the other hand we’re guessing that people are creative and smart enough to think of a way to workaround this problem.
We would say: Just book us before they close all the venues