Nov 27, 2017
Shadow Child's Exclusive Mix
As we head into the last week of the month, we couldn’t be more excited to bring you an Exclusive Mix & Story from an artist at the forefront of house music, none other than Shadow Child. Always embracing a forward thinking mentality, his music and that of his label Food Music always are sure to be quality. He joined us to reflect on his creative direction this year, highlighting his own productions and some top releases on his label.
How did you approach your Exclusive Mix and how does the track selection compare to a current club set of yours?
Usually it reflects what I’m playing with a few old bits in there too. It has to be fairly eclectic as well, if you bare in mind people at their desk, on the bus or maybe travelling may listen to it too.
Can you highlight three tracks or artists included in your mix and why they stand out?
Rimbaudian (DJ Sienfeld) remixed my track “Steak Fingers” – the guy is a genius and always delivers.
Dennis Quin is one to watch too, we actually have an EP from him coming on Food Music in 2018.
Bodhi always deliver too... they deserve so much more love for what they do!
2017 has been another great year for your label Food Music, so can you talk about your role with the label and how you balance that with your own production and touring?
Thanks, well... to be honest I’ve hardly been anywhere this year by choice. I just do the really exciting shows, Glasto, Printworks, Bestival, Motion, Warehouse Project, etc. I had to be more creative again and it proved right to not be running all over the place all summer, but make music, and I have some wicked new music coming on so many labels – even some under a new name too.
Danny Howard’s releases “Holla” and “Work That” have to be our personal favorites from this year on the label. What do you think yours would be?
Yeah those are great tunes. Danny is really carving out his own sound, so although they’re tech-house, they don’t blend in with most of the other tracks that are around. The Jordan EP was pretty cool too, we keep it all so eclectic, so it’s hard to pinpoint one tune. I guess BOT & Will Clarke’s “Techno” was a highlight too.
Really loving your Ooh EP as well! What do you feel is a uniting theme between the two tracks and some of the signature elements of your sound contained in each?
Cheers. “Ooh Tune” is just fun really. I made so much music this year, but this is the one that really has the Shadow Child character in there, where “Higher” is just a pounder, paying homage to the mid-90s super-club era. I seem to be able to tie things together nicely somehow even though the tracks are different. I have no idea how, it just works!
Can you pick one of the tracks and take us through the production process going from initial inspiration to final touches/tweaks?
“Ooh Tune” was all built around that piano. I was messing with that old Italo-style riff and it literally just wrote itself. The drums are all hardware, so I got the groove running and it just all worked so well. The vocal was the most random addition I guess, but I wanted some character in the record that people would never forget.
What are a few of your favorite shows from this year and why?
Closing the Temple at Glastonbury after Dusky was immense. I played Orbital’s “Halcyon” for my last record... proper Glasto moment. Close behind was Printworks. That main room is really special, and is everything you expect and more as a DJ. Just sublime.
How’s your winter shaping up and what’s one goal of yours that you’d like to accomplish in 2018?
I don’t know really, there’s loads of music coming out which is great and I’ll announce the gigs when everything is confirmed. It’s definitely not what it was, everything has changed immensely with the huge surge of tech-house DJs recently in the UK, and fair play to them, but it changes the game for a lot of us as punters of course want what they want. I’ve had it away for twelve years across two projects though, so I can’t complain! Whatever I do in 2018, it’ll be because I really want to do it, and I’ll make the most of it too.
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