#79 - Rebekah
Following Ben Sims pres Ron Bacardi house party mix this time we find techno star, Rebekah taking the reins of the EPM Podcast. For the EPM mix Rebekah capture’s the raw energy from her recent Wildnoize set in Eindhoven as she brings the fire from artists as diverse as Jonas Kopp, Ansome, Paul Birken, Antigone through to Sawf and Kangding Ray to deliver the dancefloor business.
Rebekah’s emphasis will always be techno, having been inspired from her early teens by growing up in Birmingham and being exposed to Atomic Jam and House of God which held long standing parties within the city. Inspired by Dave Clarke, Derrick Carter, Richie Hawtin and Billy Nasty in those early days gave Rebekah a true insight to 90s techno with a good measure of jackin’ Chicago thrown in!
The past few years has seen the rapid rise of Rebekah’s profile by showcasing her own style of modern techno, which has been accepted by her peers as well as techno fans around the world. This reflection of the studio work and passion fueled sets has lead to a busy schedule of gigs. Playing at established venues, parties and festivals such as Berghain, Tresor, Cocorico, Fabric, Awakenings, Tomorrowland, Studio 80 to name a few.
Previously part of the CLR family, Rebekah has steadily grown in stature, culminating in her dropping the superb Distant EP featuring remixes from Sterac for Chris Liebing’s imprint. Now armed with a full release schedule and a packed tour diary, the future is definitely bright for this lady of Techno. Having recently released her ‘Confined Heart’ EP on Soma, plus the ‘Beginnings EP’ for Decoy, and with a remix of Cindy for Vent plus an original track for Sleaze forthcoming and an album in the pipeline, 2016 is looking bright for the Birmingham native. Anyone that has seen her play out live knows first hand that there are no gimmicks or clichés about this Producer/DJ, just unadulterated raw talent and a passion for the music she plays and creates. You can catch that devotion in the heart of the new EPM Podcast and also at Claydrum presents Driehoek on 26 March where Rebekah plays alongside Pfirter and Trish van Eynde.
Q&A with Rebekah
1.When you DJ is it more about telling a story or throwing a party?
Neither, its more about sharing energy with people, as esoteric as that sounds, thats what I love to tap in to, using the music to transcend feelings back and forth from the crowd and amongst each other on the floor. I have been criticised in the past for not being open whilst playing, but I am so in the zone using the technology that I rarely have time to be throwing my hands in the air or doing some elaborate dance move behind the decks, the people that come to see me hopefully understand this.
2. Do you now look back to the Birmingham clubs you went to in the 90s such as Atomic Jam and House of God as your musical education?
I feel really blessed to come from such an affluent techno city, at the time I didn't really understand how important the city was with the nights and the artists that came from there, or even how it has its own sub genre aptly named “Birmingham techno”. The interesting part is understanding why the city carved out this sound and the influences say from Regis as a youngster is much as important as perhaps the fact Birmingham had little to no hope for furthering yourself as a young adult other than working in a factory back in the 80s and early 90s. Atomic Jam was my first rave experience and I still try and carry that with me, HOG was more industrial and experimental two very different clubbing experiences, there were also an acid techno party called Ultimate Orange, which was pretty special too.
3. House of God gave a platform to the likes of Surgeon, Regis, Paul Damage and Louis Osbourne amongst others. With its dark images, lasers coming out of baby’s heads etc did you feel it had a unique vibe? As in it could only have happened in Birmingham.
To be honest I only ever caught HOG at its current venue of Subway City and the upper room of the Institute in the mid to late 90s, rather than its earlier venue of the Dance Factory where I presume these visual cues took place. By this time Atomic Jam was already leading the way in the more tripped out way, I remember very clearly that one night there were these old tv sets all stacked up with some freakishly disturbing visuals being played. My small drugged up mind was lost in the visuals, lasers and music and yes it created a really dense atmosphere, it always seemed around 3am onwards when things started getting a little bit nasty.
4. What were you listening to before you discovered clubbing in your teens? Was it more pop/mainstream or where you already listening to alternative music by that point?
My earlier music was Nirvana, fitting to my teenage angst and not fitting in and just generally being a little bit strange. The techno parties always welcomed the misfits, I loved that about the scene before it had door policies.
5. How did you become part of the CLR family?
It stemmed from a remix of Matador’s Blond Slackers that I produced. Tommy was playing it and then passed it over to Chris and then a few months later Chris was asking for a podcast mix and some demo tracks for the label. It took a while to get to know the German side of the label as for about one year they couldn't understand my Birmingham accent, I just thought they didn't like me! Lol!!
6. The last few years has seen a rise in your own productions. What release plans do you have?
In the next month I have a track on a VA coming out on Sleaze and a remix on Vent Records for Cindy. Currently I have been beavering away in the studio and have a lot of tracks ready for an album, no concrete label home yet just seeing what the end product is and where it will fit, but already excited to be able to share the music.
7. In the Guardian recently you mentioned that you would choose Rhythm is Rhythm’s ‘Strings of Life’ as the track you would play at your funeral. Can you recall the first time you heard it and how it made you feel?
I bought this on vinyl and would of heard it alone whilst practicing at home, its one of those records that I can not listen to for a few years but when I do, it moves me to tears as its so beautiful, it feels like a celebration of life.
8. What would be a perfect ‘non-music’ day?
Breakfast and tv watching in bed for the morning and then out for a Crossfit work out followed by some lunch with my boy and possibly the cinema after a stroll around the city.
9. You recently went back to Birmingham to put on a new night called ‘Elements’. How did it go?
It was good for a first event, as with everything we had some teething problems but it was a lot of fun and the people that came were all in to techno and stayed with the sound as it progressed through the night. Birmingham is a tough city as it has changed a lot since the 90s, we are aiming to bring techno to the new up and coming generation of clubbers as an alternative sound to what they are exposed to, what works well on the continent doesn't always translate in the UK but its a challenge.
10. What is your current DJ top ten?
Sawf - Vis Legas - Code is Law
Kangding Ray - Ardent - Stroboscopic Artefacts
Antigone - Night Adrift - Token
Sanys - Seizure (Clouds remix) - Downfall Theory
Damcase - Deleted Scene - Mord
Wrong Assessment - Answers - Clergy
Dax J - The Wonk - Monnom Black
Stanislav Tolkachev - Stockholm Syndrome - Semantica
Faetch - Cargoe - Ear Wiggle
Luis Ruiz - Exoplanet
Ontal - Spasm - Inner Surface