Magnetic has partnered up with Orfium.com to find outstanding new talent who need a voice. The second article in our series features David Jorre from London by way of South Africa. His melodic soundscapes and precise beats are some of the best we have heard in a long time, proving once again that music with a 4/4 beat can be both danceable and listenable at the same time.
Tell us a little bit about the inspirations and influences behind your music?
I’ve always been very intrigued by ancient sound frequencies. Equally, I’ve been in love with electronic dance music since 1995. My music is a journey of finding new ways of blending these 2 aspects of my life as one tone through sound design, and discovering ways of evoking feelings and textures in the mind when listening to the music. More recently in my journey, I spent a great deal of time collaborating with Steph Lefrancois of www.secret-music.net who became a massive influence. He’s a true master producer! A wizard within in his field some might say. He ignited my passion for using hardware and taking a more hands-on approach to creating rich sound.
What are your weapons of choice for production?
DJing?As I spend more time in the studio than DJing, my go-to is Ableton Live. Second would be my RØDE iXY condenser mic for field recordings.
What electronic music album has had the most impact on you?
Orbital 2, aka The Brown Album – it unravelled new ideas of breaking the rules of how music could be composed.
You were born and raised in South Africa, and currently reside in London. Can you tell us a little bit about growing up in SA and what brought you to London?
I was raised surrounded by tribal African sounds which greatly influenced me. After the Apartheid ended I was suddenly able to access international music that we could never get hold of before, which then added a whole new wave of influence. I started DJing with vinyl in coffee bars, which was our scene back then, and my passion for music just rapidly grew. In 2001 I moved to London to seek out like-minded people to learn from and collaborate with. Once I’d moved to London I was able to get my first Wallstreet PowerBook G3 and hardware for making electronic music, which opened doors.
What happened to your Anauel alias?
The music I produced under Anauel was a lot more commercial electronica. I frequently made use of vocalists, which over time then became an expectation. Any vocalists I would collaborate with would also expect a certain sound which greatly limited the capacity for growth. That genre didn’t resonate with me anymore so I decided to start producing under my own name as an independent.
If you could go into the studio with anyone and collaborate, who would it be?
It would have to be a flip of a coin between Jon Hopkins and Nicolas Jaar.
What are your feelings on the vinyl comeback? Do you think this is just a fad or a backlash to digital overload?
I feel like vinyl was never replaced by any digital format, so I think it’s definitely a backlash to digital overload. I think people have just fallen in love with it again and that younger generations are discovering it. Those younger gens also realise that it’s completely unique. Besides the incredible sound, the cover artwork and sleeves are a beautiful tangible thing that adds to the experience.
Are you working on anything at the moment that you can tell us about?
Yes, I’ve been working on a collection for the last 3 years now, which is all about bringing ancient frequencies into modern electronic music. Minkowski is a taster of that collection.
The artwork you use on your singles is fantastic, do you work with someone or do it yourself?
I do it myself. Being a Design/Art Director, I find the act of creating the artwork as an integral part of the journey.
Aside from music what else takes up your free time?
Photography, design, and my girlfriend. Although, I don’t see myself as a photographer, more as a visual storyteller. I spend a lot of time in isolation when I’m working in the studio which appeases my introverted side, so the photography allows me to entertain my extroverted side. I mostly shoot outdoors, using cityscapes and models.
Favorite London - Pub, Club, Cafe?
Pub – I’m not really a pub person, but if I had to say, The Faltering Fullback in Finsbury Park. They have an unrivalled collection in their Jukebox. Club – I love the underground scene, or spontaneous parties, which cater for the underground electronic music lovers. For example, The Peculiar parties by Bassam Ibellini (or Bas). Café – Barber and Parlour in Shoreditch. It’s the perfect combo of interiors, coffee, menu, barbour, and cinema.
DΛVID JORRΞ BIO:
Was born and raised in South Africa, and currently resides in London. His love for electronic music got ignited in the 90’s, to the sounds of Orbital and Leftfield. Quickly latching onto the melodic and hypnotic tones of techno, he made the transition from DJ’ing to producing in 2002. He used to go by the alias of Anauel, creating a unique mix of soothing techno and deep house – occasionally touching on electronica and ambient dub. Anauel is known to feature raw, organic textures of female vocal tracks, layered on ethereal, evocative and captivating audio landscapes. These days he no longer uses an alias. His style, still soothing techno, is more soulful with rich textures, creating ambient deep-chill.
What’s most interesting about David’s musical side is how he draws on his graphic design knowledge when he’s recording – and vice versa. In his mind, both call for an understanding of how to apply imagination to create palpable, enticing sceneries.
David has released music on Kindred Sounds, Ethica Recordings, Arabica, and recently Secret Music.