Metamotional Music

SB: You have been a DJ for more than 10 years, but for many listeners you are famous for only about three years. How is this possible? Do you think this “wave of fame” is a result of your recent production efforts?

M: Yes. Totally. I was a DJ here in the United States while I attended college throughout the 1990s. I’ve always been producing and would play live sets at parties every once in a while as well. My profile really began to grow once I decided to take things to the next level by slowing down on the DJ front and seriously focusing on producing around 1999. I defined my sounds a bit, then introduced the Madoka brand in 2000.

SB: You are currently recording under the names Madoka and Akodama. The first name Madoka is known in our country, but the second, Akodama, is unknown. Could you tell me anything more about this project? What is the main difference between Madoka and Akodama?

M: Akodama is my pseudonym for any productions exclusively released on Satoshi Tomiie‘s SAW Recordings. When my first records were coming out, they asked me to consider changing my name for SAW releases to help avoid overexposure and to develop my own sound for the label since it was a bit different from my other work. At first, I didn’t think it was necessary, but after thinking about it, I had no problem with the idea and created the name Akodama, which is Madoka spelled backwards with another ‘A’ at the end.

SB: Your first release was called MyCity from 2001. What do you think about thisin retrospective? Do you think you could make it better if you made it today?

M: I think it was a success for me. It helped me organize my work into a project format for once rather than just a bunch of random tunes. It helped me build a ‘sound’ around my new Madoka project and it ultimately helped me build some professional profile in the industry. I signed my first track called “Dive” from that demo to Plastic Fantastic Records and that release really got the ball rolling for me. Of course, I think I could definitely make thesound better today only because my production standard and technique is way higher.

SB: It is no secret that you are the boss of Private Reality Records. Is it true you established this label only for own original recordings? When did you decide to release tracks from other artists?

M: Like many labels, I was able to begin with my own releases, but I always had the intention to eventually pick up other artists as well. I never wanted to do this though, unless I felt comfortable with the direction and profile of the label in the first place.

SB: Which track are you most proud on Private Reality? How do you choose the tracks you release on your label?

M: I’m proud of every release, basically. It is tough to get a record out today, and I have had to work really hard to get each one out on the label. In the end, it is all worth it, and the struggle is all part of the challenge and excitement in running a label. My goal is to generally choose tracks that I absolutely love, first. I have to really connect to a song and firmly believe in it myself before I would ever feel comfortable trying to share it with people as an official release.

SB: Have you ever refused a track that was later successfully released by another label?

M: I haven’t experienced this with other artists and Private Reality yet, but I do always wish that my own “Inhale” and “Metamotional” were released through Private Reality only because I still consider that record to be my best work-to-date. Regardless, they have a good home on Deep Focus.

SB: You own the label Metamotional Music too. Why did you decide to start another label? What are your plans with Metamotional in the future?

M: I have wanted to release music digitally for years, so now that I have the opportunity to do so, due to the recent technological shift, I am taking advantage of it. I firmly believe in incorporating new technology into the DJ booth and digital music is definitely here to stay, so I want to build my foundation for that movement while it is still young and evolving everyday right now.

SB: When I look at your discography, I see you have made almost more remixes than your own tracks. Do you feel that is only wasting the talent of other artists?

M: No, I don’t feel that any talent is being wasted. The process only helps me shape my sound for my own original work even more. Sometimes, I can get a new idea out there quicker by trying it in a remix rather than in an original work. I really like writing both types equally. It keeps my ideas fresh.

SB: You said 3 years ago: “It is still too early to make my debut album.” Have you changed your opinion at this point? Can we expect your debut album this year?

M: I don’t believe it will happen this year either; however, I definitely plan on having an album take shape for 2006 though. Ultimately, it would be great to release this effort on Private Reality, so I want to make sure the Madoka and Private Reality brands have enough profile to make it worthwhile.

SB: You are very busy this year and you are releasing The Product, Embedded, Murmur, Drift, Altered and MTTM soon. Where do you get the inspiration to write so much new music? Which track are you most satisfied with?

M: My inspiration comes from many sources, I guess. I have been listening to techno since 1991 so I really think that long-term exposure really helps. Also, I still collect, buy and download a ton of new music so all of those new sounds constantly create new ideas for me. I love MTTM because I think it has such a great underground sound to it. Personally, like I mentioned before, I feel tracks like Inhale, Metamotional and Distant Memories are some of my strongest original pieces. I am really proud of some of my latest remixes as well such as Submerged, Paz and Unforeseen.

SB: You talk about your music as being a “rich, sonic soundtrack” in one interview. Have you ever thought about writing a real movie soundtrack or pc game? Have you ever received any offers?

M: I do think about those possibilities all the time. It would be really cool but you have to dedicate a ton of time to those types of projects and work hard to establish solid industry connections and deliver the work. I hope to do some true soundtrack work one day though for sure.

SB: You live in New York so you have a good idea about the dance scene in this town. Are there any new talented artists we will listen to soon?

M: There are some good upcoming names, as always, in New York, but I am so busy with work and I always tend to remain a bit more private so I have only really been investing my time with the new artists coming up on Private Reality such as Bart van Wissen, Roel, Clubbervision and now Satoshi Fumi. These are all amazing new artists that I firmly believe in and think will all work together well in the future as a consistent sound for the label.

SB: How do you relax and spend your free time in New York? Do you go to clubs just to listen to music?

M: I do go out occasionally to both small and large venues to catch some sweet sets. I ventured out more frequently when Danny Tenaglia was still playing at Vinyl/Arc, as he is, without a doubt, my favorite DJ to experience live. He is a true legend, to me. I also spend most of my time chillin’ with my girl–listening to music, traveling and going out to great restaurants and art museums with her.

SB: Many people have said American authorities are destroying dance music in the United States with many absurd regulations. What is your opinion? Do you feel the same way?

M: This is true. I think the word absurd is an understatement here. It’s sad, really. I was fortunate enough to grow up in the early rave days in the States. When the first warehouse parties began here, I went to many of those parties and the atmosphere and attitude was always electric. It’s hard to find that feeling again today because of such foolish laws and limitations. The closest we have come to capturing some of those early vibes in recent years was Twilo, in my opinion. It’s actually why I made one of my first tracks Cabaret. I wrote it immediately after coming home one morning after a Global Underground party with Danny Tenaglia was raided and abruptly stopped by the police. The authorities stormed in with heavy machine guns, enormous bright spotlights and riot gear. It was so stupid and such a shame. Anyway, Rudolph Guiliani, the mayor of New York at the time, was always able to do this to venues with the help of some antiquated Cabaret Law dating back to the Prohibition days in the United States from the 1920’s.

SB: There are two sides in the United States–the first loves President Bush and the other hates him. On which side are you? What is your opinion about the war in Iraq?

M: Well, I never discuss politics with people, but I will say that I definitely did NOT vote to re-elect Bush.

SB: Do you have any special message for our readers and for your fans in the Czech and Slovak republic?

M: Sure–Always keep it real. Enjoy the music for what it is–something great to listen to and have fun with.

SB: Thank you for the interview!

M: Sure man…any time. Thank you for the interest and the interview opportunity.

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Simon Jones and the Progressive-Sounds crew go back some 12 years to help reveal a bit of Madoka’s true identity and discover the influences that have shaped our forward-thinking producer. The following text was taken from their website. Be sure you have plenty of spare time and a snack before reading–it’s a lengthy one!

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PS: Starting with Dive back in mid 2001 on Plastic Fantastic and moving forward through Slightly Forward on SAW and more recently with your own releases on your own label Private Reality. You have suddenly sprung into the minds of many club goers and vinyl junkies alike, as well as gaining support from the likes of Sasha and Digweed. Are you happy with the way the spotlight has quickly been put upon you and has there been any particular moment that has stood out from the rest?

M: Of course I’m happy. I have been setting rigid goals for myself for a long time and after the last year alone, I am in a better position than I ever expected to be in at this time. I have been forming some really great relationships with some people lately and I think that trust is crucial in this game. Finally being in a position to bang out a track, run it down to a legendary DJ and hear it being tested out the same night is priceless.

PS: How long ago did you first start to get into electronic music, and when did you first start producing?

A guy at my local record shop handed me 808 State’s Utd. State 90 and the rest is history!

M: I first began listening to Industrial and Electronic music around 1989. I quickly realized that the groovier side of those styles moved me more than the noisy, experimental ones. Most of the old Wax Trax stuff was great and Meat Beat Manifesto was undoubtedly one of my biggest influences back then. I guess a year later, a guy at my local record shop handed me 808 State’s Utd. State 90 and the rest is history! At the same time Nigel Richards and his crew started putting together warehouse parties around Philadelphia ages before 611 Records even existed, and Josh Wink hosted his college radio show he called Rave FM. This is how I was first exposed to house, techno, and in those days, rave. The sounds in Philly were always really mixed too. We always heard an awesome variety of styles in one night and that is definitely how my sound has grown to be so diverse. I could still listen to the first Tresor tracks just as much as Tarantella and Redanka’s new ones.

I actually learned classical and jazz piano for a good ten years, writing little tunes with my piano, crappy synth and tape decks while I was growing up. I had a 4-channel mixer with a short sampler in it so I would run aplayer and the tape decks into the thing and create a rough loop. I would record it, then play it back again layering new melodies and sounds over the recorded piece with my keyboard. I also did the whole cut and paste cassette thing too! Around 1995, I transferred to a new university and was suddenly able to start working with computers, the internet and multimedia. I finally started to seriously approach music by using Soundedit 16 on a Macintosh. I would sit there for hours and record loops, then try to sequence them somehow to create a full track. I actually wrote a bunch of songs this way, including some drum & bass and hip-hop.

PS: With the recently released Mass/Broadband having been released to acclaim on your own label and If We Begin now out on Deep, what other original material can we expect to hear from you over the coming months?

M: Well…I have tons of original stuff that I am trying to wrap up. I want to finish up like ten bangers and use one or two for Private Reality’s next releases then shop out some of the rest. As my profile grows, I want to work with other labels as well in order to prevent things from getting boring for me and for listeners. I am producing tracks of many styles right now so it is a bit difficult to figure out what to do with all of the different material. I really want to bring out my house sound more though.

PS: Will Private Reality one day play host to other artists, and if so what kind of direction would you like to take the label in?

M: I think so. It’s great to finally have an official channel to put my own stuff out there, but eventually, I wouldn’t mind bringing other talent aboard. That day will be a bit hard though, because I have been carefully crafting my vision for Private Reality since I was practically a teenager. It will be tough but I fully understand that you can’t do everything alone. As far as the musical direction goes, I get tired of my sound after 4-5 songs anyway so I am always trying to change things up. I will probably search for talent that has a different feel than me too. It’s great for a label to have a signature sound and remain true to it, but I will definitely try to mix things up on Private Reality.

PS: With a Mix completed for Overdijk & Londi’s Not Done on Extrema, can we expect to see you Mixing any other artists soon?

M: I am working on something interesting right now. It’s a great remix opportunity from someone who admired the emotions I created with Mass, and in turn, is giving me an amazing amount of creative freedom to bang something out. It’s going to begin more as a personal project for the person and if the tune can prove itself, it may be released someday. I love the first edit I have already finished, so hopefully, it will see the light of day in some form or another.

PS: Do you have any plans for an extended or perhaps full artist album project sometime in the future and if so what would you try to incorporate into it?

M: I have been wanting to create a single, solid body of work such as a full-length for the longest time. I am totally into the art of storytelling with mixes and tracks so my album would have to tell an amazing story in order to satisfy my expectations first. I want to incorporate tons of elements from different styles of tracks to even dialogue. Don’t hold your breath because this is definitely going to take me awhile.

Writing amazing songs doesn’t happen overnight. I still have so much to learn about how to move or control a dance floor before I can tackle a project such as an artist album.

PS: What producers/artists/DJs/singers influence you? If given the chance, is there anyone you would like to possibly work with in the future?

M: Some of my biggest influences over the last few years include Danny Tenaglia with his soul-throbbing, relentless, twisted pounding. Sasha & Digweed with some of the best stories I ever heard a DJ tell during their Twilo years. Satoshi Tomiie with his smooth gliding but tough turns. Cass & Slide with the way they manipulate technology It’s what it’s all about anyway isn’t it?). Pink Floyd with the way they created mental imagery and developed awesome tales. Sander Kleinenberg with the way he can incorporate emotion into any tune he makes. Early Masters at Work remixes with just the purest sound of house music to me. The mix of Li’l Louis Music Saved My Life could still command any proper house dance floor around. I would love to work with Kate Bush’s voice. I have been a fan of hers for a long time.

PS: Do you have a software or hardware production setup or a combination of both? What tools or tips would you recommend to someone else looking to start out to in production?

Anyone can slap together a bunch of loops and sequence them into a song, but until you learn how to give your music its own personality, emotion and attitude, it will always fall flat.

M: Virtual, 100%. I haven’t owned a real synth yet. I have been experimenting with tracks for ten years and technology always helps me the most. I never had a lot of cash to invest in tons of gear so I was always limited to my computer. This situation constantly created a challenge for me in which I think helped me for the better in the long-run. The virtual technology today is great and can definitely get someone up and running a lot easier than buying gear. If you believe in your music, take the time to properly learn the tools you have, even if it is only a single computer, and create the best tracks you can with it.

With all of the technology available today, it doesn’t always matter whether or not you have the hottest new piece of gear, instead it’s the ideas and creativity you bring to the stage of making a tune. Anyone can slap together a bunch of loops and sequence them into a song, but until you learn how to give your music its own personality, emotion and attitude, it will always fall flat. Even though I initially learned on a Mac, I use a PC today, learning a million techniques every time I make a track.

PS: It’s been documented that you have worked in radio and as a DJ before. Do you try to bring through the same ideals you apply to your music to these mediums, and are there any plans to use both in the future to further your career and releases of your label?

M: For me, it’s the opposite. I apply some of the techniques from DJing to my production work. Unfortunately, I stopped picking up tons of records a couple of years ago in order to exclusively focus on producing a proper tune and how to get my material out there. I stopped spinning, put Private Reality together officially in 1998, and with the help of a good friend, went down to the Miami Winter Music Conference that year to independently distribute a record I made to use solely as a learning experience.

I do want to DJ again though, and a few industry heads have really been riding my ass to start spinning again in order to help build my profile. I want to spin differently than most so I really have to spend a good amount of time strategizing for that moment. I want to incorporate original work and pieces into my sets more than anyone else so it will definitely take a while to figure out a successful and efficient system. It will happen, but for now, I am just spending that valuable time trying to improve my original work first.

PS: Name 5 of your top albums and gives reasons why they stand out for you.

Chocolate Chords – Terry Lee Brown Jr.
I was digging through the crates of hundreds of junk CDs to be thrown out when I used to have my radio show in college and found this pretty nondescriptat the bottom of the bin. I took a shot, pulled it out of the pile, slid it into theplayer and from start to finish, the sound and the feel of the album completely changed my perspective of dance music.

Violator – Depeche Mode
Timeless electronic music that’s crafted so meticulously. Still their best album to me.

99% - Meat Beat Manifesto
Crucial album. I began to fully appreciate the groovier side of Industrial music which eventually led me to rave and Techno music.

Utd. State 90 - 808 State
I wore this album out ages before the early warehouse raves in Philadelphia at the start of the 1990′s. I discovered how to truly appreciate music that had no vocals. I still listen to it regularly.

Disintegration - The Cure
I can’t neglect to mention my earliest influences such as The Smiths and Echo & the Bunnymen, but for this one, the Cure’s Disintegration takes all. This album definitely explains my love for texture and melodies.

PS: Being someone who crosses boundaries, fusing sounds and genres that some people would say don’t really mix with ease, what kind of music do you think we will see coming from the electronic and progressive scenes over the next few months?

M: There has definitely been a lot of amazing tunes out this year, but I think dance music as a whole is just stagnant right now. A vast portion of the new tier of DJs and producers are extremely open-minded though and have diverse influences, so hopefully, this background will help new styles and sounds evolve. Trying to predict the next best thing isn’t always so fulfilling to me. Just doing your own thing and letting the sound of a new club or movement emerge on its own is more satisfying any day because it is so unexpected: It’s that underground feeling we live for.

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THE 10 QUESTIONS: MADOKA

PROFILE
DJ/Producer Name: Madoka & Akodama
Real Name: Mark Venneri
From: NYC for a few years now

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XP: What are your Top 5 tracks at the moment?

01.Satoshi’s mix of Kosheen’s Hungry - He is masterminding his Mixes lately. Can’t wait for his NuBreed.
02. Gentle rain – Blackwatch is a consistently great producer.
03. Close Yer Eyez by Dan F on a pretty tight new breaks label called Disuye.
04. Angels by Organic Soul – the mighty Revolt.
05. My own Arena - forthcoming on Private Reality. It’s really going to take some by surprise.

XP: How did you get involved into dance music?

M: I began to discover the dancier side of industrial music around 1990 and then naturally progressed into House and Techno the following year. I think I listened to 808 State’s Utd. State 90 a thousand times that year. I remember the industrial scene at that time just fizzled too. People split and many either turned to grunge or to rave music. 1990 to about 1993 is still one of my favorite periods of dance music, especially for house. It was all so fresh and new. Every tune just seemed to blow you away. I loved the way music was treated back then too. You would be lucky if you heard the same song, even if it was popular, like 3 times ever. Two plays and it was old already. I still don’t even know the name of half of the greatest tracks I heard at that time and I sort of appreciate that. It’s the experience that made the songs so special in the first place to me. The name, artist or label isn’t always the most important thing to take away from a DJ, instead, it’s the interpretation, emotion and memories that follow.

XP: Does your girlfriend/wife hate your music?

M: My girlfriend LOVES the music. I introduced her to it all a few years ago when I initially met her and she has been my biggest supporter since. She wholly understands my creative process and helps me out in any way she can. That’s the best type of partner to have if you live the music the way I do.

XP: How many records do you buy and receive per month?

M: I haven’t been buying many records in the past year or two because I shifted my entire focus to producing. I played for years though and when I was spinning every week at parties and clubs that number was high. These days I am receiving a good deal of whites and TPs because my profile is growing. I am going to start Djing once I establish a bit of a name as a producer too, so I will start to pick up tons of records every week again. I listen to and download a ton of music on the web though. I like to hear all the latest sounds and directions for many of the genres across the board. It’s definitely an addiction.

XP: Can you still dance?

M: Hell yeah! I am getting slower, however, as the years pass. Although I am far from an old man now, I remember being able to dance for like 10 days straight when I was younger. I still love it. .

XP: What’s the coolest thing/quote you have ever heard about yourself?

M: “Madoka will fast become one of our greats.” Choice words by Pezz with his review of Coppola in his Muzik magazine column. That’s incredible expectation I guess I must live up to now, right! Release Record’s review of “Mass” on their website was quite intriguing as well. I have received so much support and positive feedback this year though that I really appreciate all of the great words and kind wishes from everyone.

XP: There are millions of bedroom DJ’s over the world. What’s your specific quality that lets you surpass that level?

M: Storytelling. I have always been the most influenced by the DJs and producers that tell a story through their work. People like Tenaglia, Sasha and Digweed and one of my biggest influences growing up, Josh Wink, do this so well. I try to put that element back into my own work. Also, it’s an aspect that is crucial to the Private Reality concept. It’s about creating an entire mental soundtrack and personally interpreting a song in your own way.

XP: What are your goals for the next 12 months?

M: To continue building Madoka and Private Reality’s profile with original and Mix work. I plan on getting myself back into spinning to help support my producing. I also want to introduce a few different sounds and musical directions early on. I don’t want me or my label to be categorized in any one particular way. My influences are too diverse for that treatment.

XP: What car do you drive and why?

M: I don’t even know where to stick the key in a car. Lived in large cities my whole life and never really had the need or desire to have one.

XP: Did you get into DJing/producing for the sex, drugs, beats and money or are you just too lazy to do a regular job?

M: A bit of everything here initially I think. But today, it is really important to me to always be as professional as possible. I guess I really do it to satisfy my creative sensibilities first, for people to experience and interpret second and everything else in your list just enhances the process.

XP: How will the dance scene evolve over the next years according to you?

M: It will just get bigger. Especially on a worldwide scale. It’s an unstoppable force that is always gaining more popularity and respect. On the flip to things, I think producing and DJing will mature tremendously over the next few years. The digital realm will gain immense ground and support as the technology proves to get better. I fully believe in the movement and hope to use it even more to create and perform. I still enjoy the sound and feel of vinyl and all, but this music has constantly evolved because of the manipulation of technology. That trend will certainly continue.

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