Exclusive interview with
Steve Conry (Part 1)
Steve Conry is a UK based DJ & Producer and founder of the 'Ten Lovers Music' Label.
After releasing a series of excellent, uplifting house records on several labels in the late 90ies, Steve more and more immersed himself into the digital world of mix podcasts. His weekly show on deepArtSounds Radio/MotionFm.com underlines his immense and uncompromising love for electronic & organic dance music.
We were able to chat with him and talk about what influenced him to become the DJ Steve Conry of today.
(Interview with George Btp)
1. Steve, wazup today? Did you get up with music today and if so what was the first catch of the day?
First track I listened to today was Classic Man - Lounge File #1 on Natural Resource followed by the new Gerardo Frisina album in full both sides. Just thinking about this weeks deepArtSounds Podcast for MotionFM too.
2. You are already a primary rock in the scene. What drives you to continue and where do you see yourself today between all those uncountable young trees in the house jungle. What is your role and your goal? Is it just about the love for music?
Hearing new music that I like or hearing music I've missed, I recently saw a comment from Glenn Underground about "returning to source" and I interpreted that as meaning looking back at music and respecting what has gone previously and looking back through old labels for tracks you've missed mostly B2's which as anyone that knows me will know is where the best music can be found. I've always wanted to be the warm up DJ never really had the notion of doing the main set. My role as I see it at the moment is to keep promoting the music I love through the radio show which will hopefully lead on to few more guest spots.
3. You grew up in the outskirts of Manchester, right? What does the legendary Hacienda Club mean to you? Do you consider it as kind of your musical education? How did it affect to you as Producer and DJ?
I wasn't really that into the Hacienda to be honest I went to see Trouble Funk and Mantronix there but wasn't a regular and don't have license to call it the Hass like other Manchester stalwarts who went on a regular basis. I would say my musical education was from visiting record shops from being 13 years old and buying imports from Spin Inn and then Eastern Bloc Records in Manchester with what little pocket money I had and listening to them over and over again. Not being musical I always wanted to create a "song" from samples and if you listen to the early Discovering Disco EPs you can hear they are not just straight up looped samples but are arranged like a song. I guess the place that influenced me most was a Maxi Records/MAW Records party in 1996 in Miami with Marques Wyatt and that party shaped the music I made from that point on.
4. UK is without doubt one of the most important countries in terms of music at all. Can you tell us a bit more about what influenced you the most to become the DJ Steve Conry of today.
The first record I was influenced by initially was the theme from the Argentinian World Cup, that is the first thing I can remember truly striking a chord with me that I'll admit to anyway. Then it was Gary Numan who I thought was from another planet. I always liked that although it was electronic at the heart of it was a live drummer which gave it some soul which has stayed with me until the present, I like music with a human element whatever it is. From making just sample based music I then got more people involved to play the keys and you can see how Ten Lovers Music my label changed musically. I'd hum it and they'd play it and that is how it worked really as simple as that. It was great to work with friends so talented like that and I hope to start that up again with the new music I'm planning for deepArtSounds.
5. Your producer discography on Discogs looks tremendous. What was the reason your productions slowed down after 2003?
In 2002 I returned to the Winter Music Conference in Miami, by that time I was part of Flygaric Tracks which was co owned by Doubledown which were one of the biggest independent distributors. I played a couple of gigs there and the whole thing had changed from when I first went in 1996. There were people handing out records like flyers and piles of records in bins? It was also the start of the digital "revolution" I think a lot of the respected House labels couldn't cope with selling 1000 copies when the'd previously sold 5000. It was downhill from there in I think for most of them and only few of them have started up again over the past few years. I supposed I stopped at the peak of my output! I had a track out on Magic Feet but nothing since really until the new music for deepArtSounds
6. Talking about your own productions. What can we expect in the future?
I've got a track on a forthcoming deepArtSounds double Various Artists double pack due in December 2017 which I'm really looking forward to with some great other artists on there too. I'd like to think I will be doing a remix too at some point for the label. I feel like I've got the need to make music back again and that is from the respect and friendship from the deepArtSounds guys. I'd also like to do some more DJing having recently played in Manchester doing a 5 hour set at Eastern Bloc Records. My next gig is in Zurich in 2018 so could do with filling some dates between now and then! The radio show is something I love doing too, playing music I like that is connected but not necessarily the same tempo or style. To me it's all the same and something I hope others enjoy.
7. You are a kid of the 80ies and 90ies. Do you still produce the old classic analoque way or did you meanwhile switch to the new software technologies?
I use an iMac running Logic but only use it as a sequencer for samples, I record all the samples to an audio CD though stand alone player. The keyboards are played live at a friends house then retransferred to me, the whole thing is mixed don't on my NS10s which I've had for a very long time. I don't spend too long on tracks, all the Discovering Disco EPs were made with an Atari and an Akai S2800 which only had 4 outputs! I stay aways from soft synths as they have no depth and are just one dimensional and why so much new music sounds so flat and contrived everyone is using the same sounds and plug ins. Most stuff just sounds dull.
part 2 of the interview soon coming