Welcome back to the latest edition of our exclusive feature, The Director's Cut. In this feature, we go behind the scenes with our favorite artists as they break down the creative process of their latest album, providing cliff notes on each track, and giving us an unparalleled look into their minds.
This time, we are joined by drum & bass duo Dossa & Locuzzed, whose newest album Resonate blends melodic funk and precise drum work to create a truly engaging piece of work. Spanning 14 tracks, Resonate perfectly captures the sound and style they've become known for. The album is available now via Viper Recordings. Grab it here.
How to listen: There are a couple of ways to proceed. First, you can listen to the whole album, which you will find below, and then read the notes. Or, read the notes as you listen to each track. This will completely change your perspective on the whole release itself and bring you closer to the artist and their work.
The whole album was written over the last three years and in that time span we’ve constantly kept writing new music. That’s why we did way more than just 14 tracks for this project. The tracklist changed over time and the final decision on the track-order was actually done only a week before the album-deadline.
In general, it was a big learning process, the writing itself happened pretty naturally but figuring out the balance of meeting the expectations of our fans without compromising the creative vision was probably the hardest part. So here some details about how the tracks came along:
We wrote this track when the album was nearly finished. When Brendan Futurebound heard it, he motivated us to scrap the placeholder-vocal and so we did a proper recording session with fellow Austrian Patch Edison. As the whole LP was pretty instrumental at that point, we figured it would be a great addition to the tracklist.
Take My Hand
This track was born 3 years ago when we were listening to a lot of French house music. Once the idea was there, we had no clue how to fit it into our release schedule so eventually, it became the first track we did for the album. At the time we didn’t manage to make it sound right, but as we kept writing new music we progressed and were able to finish it three years later with the new techniques we’d learned. It’s a great example of how sometimes you just have to leave a track instead of forcing yourself to finish it!
This one was born from an intro we had for a single last year. That triplet arp felt a bit too weird in combination with the straight drop, so we picked it up and built a whole new track around it. We instantly agreed this had to go on the album as the obligatory triplet tune!
This one started as a bootleg we did in 2017 for a well-known disco house tune... If you know you know! We were so blown away by the whole 2000s Disco-House era that we actually bought an Ensoniq DP4-Effect Unit from a shady eBay-Seller. That's the one which was rinsed by Daft Punk, Modjo, etc.
When the instrumental was put together, we knew Pat Fulgoni was the right one to nail the soulful vocals we needed. Some say the lyrics are too cheesy, but the intention was to create that "guilty pleasure" vibe - we wrote the lyrics ourselves, which took a few months as we hadn’t written any before!
Influenced by hearing a lot of complex jazz tracks, we came up with that 16 bar chord progression and built a drum & bass pattern around it in 2017. We ended up with a similar vibe as our track from the same time "Stoned Love," which featured Misses U on the vocals, so we thought it would be cool to put some of our history into it: as we met her at a jazz concert from a good friend, composer and pianist Sebastian Schneider, the idea was to do a track with both of them and so it was a great musical reunion for all of us. This track was the first one to get picked up by one of the few big radio stations in Austria, FM4 - being in their daily rotation tracklist was a big milestone for us!
As we tended toward synthesizing most of our drum hits we wanted to go back to a more acoustic/realistic sounding drum kit. We played around with this plugin called superior drummer, processed the hell out of it and got a nice groove together. Actually, the whole track lives through the groove of the drums and the bassline was kept really simple, which makes it a perfect DJ-tool for our sets.
Fun fact: The "samples" in the intro are actually hand-made. We spent a lot of time emulating a disco-track using traditional instruments to give it a "tape-stop" feel.
We’d been talking to Marky for years already about doing a collaboration. So, this spring he sent over a track based on that disco loop from the intro. We picked it up from there and added some contemporary roller feelings into it with a gnarly bass and some bass hits. DJ Marky was already on the top of the genre when we started listening to it, so when the track came together it was a no-brainer for us to put it on the album - even though it’s the only producer-collaboration on there. It's crazy to think that we've collaborated on a track with someone from the other side of the world: Thanks, Internet!
This is probably our most known track out there. It’s not our favorite, to be honest, but in terms of telling people who we are it makes perfect sense to be on the debut album.
As 808s and the whole future bass hype from the last few years were another main influence in our music from early on, we wanted to show it tribute and fit this sound into drum & bass. Since its first versions in 2016 there was actually a lot of discussion about whether it should be on the album or not, but in the end, it was probably one of the most "out of the box" tunes we did so far, so where would we have released it if not on an album!
This was also one of the first tracks which were written with the intention of being on the album.
The shakers on the intro are played by ourselves, we grabbed them at the local music store when we were actually were searching for replacement cables. But you don’t leave a music store without at least one new gem!
We were strolling through Amsterdam when Benni was trying to describe this untitled draft (Dewey) we’d started. It’s always weird to describe drum & bass Tunes, the mimic sounded like Dewey from Malcom in the middle with his bubi-bu dance, that's how the title came about:
Another classic Dossa & Locuzed tune, this one was released in 2017 alongside Stoned Love. We wanted to showcase another dancefloor-track from our early days. We chose this one for the album as it felt like the right vibe, especially with all these new tracks around it.
We had this track lying around for some time, and we were still in need of an outro tune for the last version of the tracklist. So, after Futurebound hit us up after finding it on his hard drive again, we relooked at it a week before the deadline and somehow managed to finish it on time. It fit perfectly and gives a nice look ahead of where our sound will go to next...