After burying himself in books for the past three years, Sebo K is about to hit the scene full-time. RA's Ryan Keeling finds out what happens when school's out.

"I'm not really happy... I also don't know how to do it better, but I don't find so much satisfying stuff these days. That's just my personal opinion. I don't find so many records and really think 'Wow.' I always feel like in the past it was better (of course, people always think in the past things were better), but I think this year... I've been really, really uninspired."

I totally feel him onto that ! the only moving thing this years was our hard drives space... not much anything else...

Pretty interesting portrait.
I like how honest he is being, about his productions & his sets.

Great piece. Super interesting and can totally relate to a lot of the aspects.

Nice one Sebo! Thanks RA!

Glad to hear he's wrapping up his degree. I have loads of respect for those that try to keep a balance.

As he tails off somewhat wistfully, I attempt to press him on exactly what he has found so unsatisfactory over the past twelve months. "I don't know what the problem is, but I think that most of the records sound the same. There aren't really a lot of highlights and I think that people don't really try to risk anything. Nobody wants to make mistakes or try to do something special in these productions. I even started to find myself playing sets and afterwards thinking 'If someone was listening to my set tonight, maybe they will go home and won't remember a single song.' Of course I try to bring some special aspects to it, but it's pretty hard these days. I am looking for something you can remember,"


word

my big problem with 90 % of what comes out these days. it seems they are all doing an effort to sound like the other instead of standing out. with almost all those tracks ; if someone would ask; u know who that was just then, there is a like a variety of 50 names i could choose from and they would all fit.
it bugs me out that that is what "works" these days.
a koze, isolee or carlcraig tune you can almost always pinpoint it straight away
sometimes when I go out here in berlin and hear some of these kind of sets, my ears almost fall of from boredom and find myself questioning ifI even need to bother trying.

Great artist

excellent producer, quality dj and he seems to be a very, very smart guy too. highly appreciated the portrait.

Can't say I've ever played out much of his material but he seems like a really smart and talented individual. Great article!

Nice article.

Seen him a few times in different environments and he's always adapted and rocked it. Good to see him back in the game.

Nice feature, I can relate to rather closely. I went back to school as well, and making music when I can. Gotta have something stable to fall back on no doubt. Music has its opportunities but is not exactly the safest longterm investment, some will make it, most will not if we talk about longterm financial stability.

Also, maybe a topic worth a feature, It is harder for artists who did not grow up in rich households. We cant do music and not worry about the future. The thing that drives us is our passion for music and life, not simply having free time to waste because things will always be taken care of. So I respect artists even more if they really earn their way up without silver spoons.

Also, maybe a topic worth a feature, It is harder for artists who did not grow up in rich households. We cant do music and not worry about the future. The thing that drives us is our passion for music and life, not simply having free time to waste because things will always be taken care of. So I respect artists even more if they really earn their way up.


Yeah Dazedeten I thought that too. Also I think Interviews like that reflect the change in music industry. Its almost impossible right now to be fulltime artist, financially. And nowadays if you do both job and music its also not too easy cause if you do a good job, they also want your 100 percent.

This is another case (as with Sascha Dive) where an often boring and unoriginal producer (but a pretty good DJ and successful remixer) attests to finding nothing much of interest in current releases. Have the pot and kettle really not met?

Maybe now that he's finishing his studies he can pour himself into production and come up with something more exciting and less "on-trend," but I get the feeling the title of this feature summarizes Sebo rather well: safe!

great article and very interesting dj/artist. surprising stuff about the alec empire connection would not have guessed that! i hope this means he'll be making an appearance in nyc soon as well, been itching to see him for a while now.

He did make interesting distinctions having released a track aptly named "Sax Track", after the Sax and organic trend was well underway, a sax track with a tech house groove. Having said that, I do agree with him, there is a lot of one thing these days. But I dont blame artists for this, if the labels sign the music, its up to them to not be pretentious and follow eachother around, and find artists doing different things than the usual "tech house" track these days. Its obvious most labels are buying and sell names, not music, though some dont . There is a lot more good music being made than what it is being signed, if labels are neglecting this good music to release the latest trend house trend techno track, i'd say the producers are far from the issue, and people are looking at the wrong root to fix things through.

After pretention in some labels, a new phenomenon is rising, DJs that started Producers first, quite simply lack the vision for the dancefloor or the listener. They cant see the value of a piece of music unless they have a reaction from a crowd. These type of DJs also push music in directions that are simplistic in composition. Because the music might simply work on the dancefloor at the time, or easier to mix and program. They have one hand to their mixing setup and the other hand to their ear waiting for reactions, and the tracks that get the reaction are of the same formula during each trend cycle, usually it is sparse in composition and attention seeking in arrangement. Music that just about anyone can make. The same thing happened with minimal techno and minimal house, reactionary music that always invited the dancefloor to make noise at points in the composition and arrangement to remind the DJ "youre doin a good job man, keeeeeep it up" lol. Otherwise these DJs would never know how well they were doing. So Minimal Techno was easy fix for them, and now percussion based Tech House gives pretentious DJs the dancefloor feedback they need, otherwise they would not know what to play. Its the safe way, and taking chances elsewhere might not give them the reactions, so they go with what is safe. A bit of a mind blow huh?

While music that is more musical and compositionally stronger, that would definately work on the dancefloor as they did in the 90s and early 2000s...music that has a mental or emotional impact on the listener are passed over because the DJs lacking vision or experience cant read this in people, or speculate the value of this music on the dancefloor. These tracks might not get enough of a vocal or readable physical reaction that the average DJ could notice. So these musical yet impactful tracks are set aside.

Reaction vs Impact. DJs are too busy trying play tracks to get a reaction, instead of playing tracks for a lasting impact on the listener. Reaction is shorterm, Impact is longterm.

So when DJs who dont have the vision, dont get a reaction, the value of the music is hidden from both the DJs and Labels. Well made thoughtful music gets pushed aside for the easy reaction music, a dumbing down effect. Resulting in the last two trends of the past few years, Minimal Techno and Tech House. If im having a good time on the dancefloor, and I could be loving a sound or melody im hearing but i'll be too busy enjoying it to make noise about it. It is up to the DJ to know and speculate what the piece of music potentially doing to the dancefloor, even when there is no reaction. It is part of what seperates average selectors and the great ones. Who are the best DJs? The ones that dont play purely reaction asking music, confidently play to the heart, emotions, and minds on the dancefloor. These DJs take the risk of building a longterm impact on the listener by simply playing the best music for dancefloors, not just music that asks the crowd for a reaction. So these trends of lower quality music that many seem to be complaining about, are mainly due to modern DJs who did not do their time to study the dancefloor properly or dont know the first thing about reading a crowd. They are the ones directing the musical lanscape, creating tastes for labels, giving a direction to the average Producer who wants his music to be played. All a product of Producers turning into DJs, because its easy to become one these days, yet know very little about the craft of a "selector", a word that a talented DJ named Theo Parrish, who plays impactful music likes to use to describe a DJ.

With all that said, there is still a lot of great DJs, playing well crafted music, put out on quality labels...you just have to find it. And DJs that are currently lacking vision, have to build up their ability to see music at another level, to not only help the quality of music stay high, but also for building their own craft and seperating themselves from the rest of the DJs who play easy reaction yet non impactful music. Because if you think about it, you build a longterm listener base through impacting the listener, and to do that you need to play truly impactful music, instead of simple reaction music. It is a risk you have to take. This is why I respect a DJ like Danny Howells, he can read a crowd and lead them with music that does things without asking the crowd for a response at every turn. The future of EDM and the music is bright, just gotta look in the right places and listen to the DJs who are doing great things.

I will have to do this type of trend analysis, culture, business, market analysis, and qualitative reasoning for a decent living some day. Truly nothing against any certain DJ or Label, just analyzing the situation the best I can. If your doing good, keep doing what you gotta do to survive.

I agree with transition of a producer to dj'n lacking dancefloor knowledge.
Not being skilled in reading the dancefloor progression, creating no journey, just banging out generic reaction music.

Top Read Dazedeten
!!

nice read. his watergate comp is one of the best of the year for me...

the nature of dance culture (as in the chemicals and all) dictates that you hear a lot of crap talked about music - you know when you're out on one and some fella's chewing your ear off about how he has all these tunes in his head etc. or the latest Steve Bug mix is the best thing ever recorded or something. and there's very little confrontation when artists talk about other artists' work - unlike rock or indie where you have characters like Ian McCulloch or Morrissey or whatever. I think dance music needs more of this - not confrontation for the sake of it but just people to speak out and say the majority of recently produced techno or house is absolute rubbish, and challenge the norm a bit. No?

Right, but It does'nt benefit anyone if people complain about something, and not offer a solution. Confrontation should offer a well thought out solution. A lot of the people who complain, especially on forums on the internet, simply complain, but dont give any ideas of how they would improve things, or how things could be improved. They often blame the wrong people, so things keep going as they were.

Dance music trends become trends because DJs are selecting certain types of music to spin, and the Labels are signing music that fits those tastes. Producers who try to express themselves through music or make a Product to be played by the DJs they listen to, some artists dont care about this system and make music they feel like making, but these people also risk not being heard if they dont add something that creates viability. That is the basic music trend loop, look where it starts and where it ends. For this echosystem to work at its highest potential, including having vision, the DJs, Labels, AND Journalists, have to find the best music and help it rise to the top, to set a higher standard for other Producers, resulting in larger quantity and quality of higher standard music. This is why I say blind nepotism and cronyism is toxic for any culture or society.Because nepotism limits things to what might work and is of relation to the person distributing the power or rewards, not exactly the best product or service that is available. How can it the best standard when the choices have been limited? So when the standard has been at a lower level for a while, even the highest standard music is conditioned down to that level. So the nepotism (essentially racism/bias) ends up screwing the echosystem that originally was built on the highest quality getting rewards and the average and lowest quality getting lost in the mix. The problem starts and ends with the DJs, Labels, and Journalists, who dont allow the system to work through natural selection. Not the Producers, who are already shafted by getting the smallest pieces. It is quite ridiculous that people ignorantly blame Producers for something that is product of something out of their reach. ^Another topic worth a feature and dire need of coverage by music journalism.

The reality is, Producers are very capable of a lot more than what is being released, but if they arent being asked to reach for higher standards, then they will make simply a sufficient product, and not more. And some are making music to a high standard, but the current echosystem is overlooking them for native relations and mates, just look at charts and tracklists for that. Of course, its impossible to not support your own artists if your a label, or your own label if your an artist, I think that is normal and essential. The only issue is when it is regularly beyond that. Hopefully, i've said some things to think about, and when people complain about music and trends, they take a deeper look at the root of the problems if they want to impart change that is beneficial to all.

it is true, of course, that it seems there is less and less quality (memorable) music these days... I say, its probably because the market is completely flooded with uninspired music, put forth by mediocre indie-startup labels that are likely just trying to make some easy cash flow... however, if we put the effort into digging, there is always a chance of finding some gems.

It is of course easier said than done, but it can be done

Huge fan of Sebo K - Far Out was one of the best records of its year (and it was techno!). Very excited to see more material coming from him.... I'm gonna slot that tune into my set tonight

completely agreed!!! BUT - look at these gruff detroit Mofo's! Omar S and the like - some of these boys are not afraid to call their peers or contemporaries out on their shite - they say it plain and simple... the only thing is - nobody wants to burn any bridges (whether or not they've officially been built yet, or not) and that is something very commendable about the house music/dance music scene - everybody has some level of respect for everybody else, even if their output/ contribution is less than stellar. And its entirely necessary for everyone to be successful.

look at the american mainstream hip hop scene (not that I really follow it much anymore) - for some time, there was a lot of conflict, and I mean PHYSICAL conflict, between various groups (rappers AND their fans) that resulted in people getting hurt, major lawsuits and what not - and more than half the time, it was perpetuated by these immature prats, calling themselves artists, who were 'dissing' other artists work publicly and explicitly though lyrics and other mediums... so the question is, where do we draw the line? When can we call someone's work complete bollocks? who are we to say anyhow? isn't everyone entitled to do what they please?

For every question answered, 10 new questions are created in its wake... I say fuck it! lets party

sebo k is the man. talk about good taste .the new watergate mix is great.. as was BACK UP vol 1. and most of his prouctions. Massive respect SEBO K!! i was wondering why i wasnt hearing more from him.. very good article. thanks again RA

I can't imagine that anyone would go into the record business just to make a quick buck. In the end, it's the crowd's fault for demanding instant gratification instead of quality music and properly built up sets.

I blame 'Ableton-DJ'ing' for the fact that everything sounds the same. Loads of good music is being put out lately, but it seems like more and more 'dj's' feel that it's best served in boring computer-generated, auto-synced loops. No wonder everything sounds the same.

Oops, almost forgot about Sebo! The man did some great productions, but I disliked Diva and Far Out. Hopefully, his studies have also allowed him to take a step back from the music scene in which he was involved, so that he can re-evaluate his personal interests. To me, my regular day job makes me ever more appreciative of those times that I am able to play or just listen to music.

Much respect to him for not sticking his head in the ground and preparing a backup plan instead

Always wondered why his releases were so limited. Im a big fan of everything he`s put out and look forward to more frequent releases or an album if he gets around to it!!!!

Now thats a classy guy... ~talented & honest~
All the best whatever your future ventures may lead you Sebo!

I would beg to differ, for me 2009 has been one of the best years for music in a long, long time.

Really great article +1

I blame 'Ableton-DJ'ing' for the fact that everything sounds the same. Loads of good music is being put out lately, but it seems like more and more 'dj's' feel that it's best served in boring computer-generated, auto-synced loops. No wonder everything sounds the same.




Thats a good point but maybe not totally true its the artist who uses the software which to be honest is a good thing as how many of us has turned at a gig only to find the dj standing there with no records cause the airline has lost them!!!

I blame the artist's like richie hawtin who are using these tools to improvise and make music different not because it sounds bad though not seen him live yet!!! as he cancelled last gig here. But because maybe dj's now feel they have to make things different rather than just play the song as it was made, in some cases the original is actually better than what happens on the dancefloor because the dj is trying to be original and different.

So here is the problem as pointed out very eloquently in previous post or nearly as i read it anyway djs can only get gigs now when they have records out and being successful. The art of djing is dying and were to blame for not supporting our local nights without the big names playing so everything sounds the same cause its the guys who make the records playing see everybody coming out to see them and think wow im super keep doing what im doing and i will be set for life

Cant really blame them though

Fever Ray, Martyn, Levon Vincent, Instramental, Hyperdub with Zomby, Floating Points, Joy Orbison, Shackleton, Alix Perez, Untold, Bodycode, Mcde, Spectrasoul etc etc

I really dont understand this ongoing debate. People talk 95 percent about the bad things why not focusing on the great producers we have this year. Just ignore the bullshit, there are fuckloads of impressive fresh productions. Focussing on the bad things helps noone, think about your solution, buy the good tunes.

only few djs can allow themself not to have a day job...

i'm a webdesigner and a graphic designer myself so i can have sometime for djing

most of the djs have at least a part time job , related or not to music. So it is not playing safe or whatever , it is just that you cannot be a dj all your life ...

most of the old djs , if they are succesfull , own a club , a event , consulting or booking agency , because they have a name and valuable contacts...

most of the old producers used to work in major label management , but because of the crisis of the record industry it is hard to find a job in that kind of business ..

i think 30 is the best age to know whether you can stay as a full time dj or begin to wonder if you need to switch priorities... espacially when you have familly to feed.

Another thing is that i really think over djing can kill one passion. 2/3 gigs a month is nice.

I agree with you in some way. Id rather have the deep/tech house trend right now than the minimal shminimal trend that preceeded it.
However, you cannot deny that, although the tunes that are being released currently are good, most of them are nothing special.

good article obviously, for spurring so much debate!

good to read about artists in a different context. Most of the time we're living in the moment and tend to think of that person playing music in front of us as a constant party goer who could use another drink

A lot of interesting music is produced nowadays , and it's produced by newcomers . But record labels don't sign them because they don't have their name established on the scene . Their tracks are not in any chart , are not signed to a big label , are not charted in top downloads .....they don't release 10 tracks per month ......for them it's just " the love for music , the love for house music ".
I've also found a lot of unreleased tracks that have "that special thing " from unknown artists .The record labels would not sign them because their sound is not like the top 10 on any mp3 download site.

And that's why you don't hear anything new !

and also if you are signed with a label your creativity as an artist is limited .Per example let's say you are an artist named " iuiu" .You have your first track signed at "iuiu records " .Your second track is different then first ...you explored new ways in music boundaries ...but the label will not accept it.They will say that they want "iuiu" sound from the first release . That's sad...and it's because of the money.

stop minimal bashing dude , you're the kind of guy that'll spit on Deep tech one year from now ...

I personally thought Diva was a horrible track although this is just my point of view. I don't completely agree that less great tracks have been knocking about this year but do agree that labels are more or less keen to copy others if their ideas seem to be selling.

http://www.youtube.com/watch?v=MwZo1Ig1w44

If he keeps on making groovy tunes like this now,

I think his music is going to do all the talking and i'm excited to see what else he comes up with now that he's done with university