Yorobi Interview

Hi Josje, you are officially the first in this new feature and I’m very happy about it! 
Let’s start from the beginning, can you give the readers some background on when you got into this Dj stuff!
Hi Tom, thanks for asking me to do this interview! 
I started dj-ing when I was 17, under my own name as Josje in my home town Groningen. That was in 1999. 
I was working at a pirate radio station (Nautic Radio) at the time as a host and quite quickly got into programming guests.
The way I got started at that show was also quite funny… 
When I was 15, I was at someone’s house party and they had techno music playing, the host of the party then proceeded to tell me that this was a live dj and not a recording and that the dj was playing in the attic upstairs.
I was completely impressed, especially when I went upstairs to check it out.
A few months later I heard that they had an illegal fundraiser in a location just outside town, so I wanted to check that out. Obviously I made up an excuse to my dad about where I went that night, just as I had done when I went to that house party previously. A few hours into the party it got raided by the police and I happened to sit at the entrance. I was already minding the cash register at that point, because the person responsible went to the bathroom. And I told the police I had no clue who was responsible. They didn’t completely shut it down, but they couldn’t ask for an entry fee anymore and were forced to give away their drinks. Suppose they could’ve said “donations for drinks” from there on out, but the risk that there was somehow some informant there or that they were caught was too big. I had shoved the cash register in my bag after they went in and when they were gone I found someone of the organisation and handed it over. From there on out I was in the studio during broadcast a lot more. And slowly I became a host, got involved in organizing fundraisers and got my own show. 
Seeing as I had a love for breaks, this quickly transpired into having my own show. This show focused on anything breaks.
Primarily drum and bass, but also hip-hop (anything from just dj-ing to scratch dj’s), trip-hop, electro, big beats and nu skool breaks.
When I started dj-ing I started out with playing all these styles, but I was never a scratch dj. 
I started out at the radio as a host, this meant I pretty much always had access to the studio turntables (sl1200’s).
Aside from that I also knew various other dj’s who’d let me practice at their house. They were quite supportive, some of them even gave me some of their old records.
Some of which I might still occasionally play!
At 18 I had full access to my savings account and then spent a part of it on getting a set up of my own. 2x sl1210’s (which are still with me and very much in use) and a shitty numark mixer.
I was lucky in the beginning because I already knew some people through radio and I was just always around and being enthusiastic about DNB ( a style which wasn’t doing too great in Groningen back then) some promoters decided to give me a chance and gave me sets on parties in Simplon and later when one of these promoters moved to Nijmegen I also got to play there. That got the ball rolling, so I quickly also played in Rotterdam, Tilburg, Den Haag and Amsterdam and much to my surprise I also ended up on a cultural exchange to Newcastle (in 2000 I think…)
Seeming as you immersed yourself within DJing from a young age, did you pick up the art of mixing vinyl and beat matching quickly once you began practice? 
Funnily enough, no. For the longest time I had no clue how to mix drum and bass. I used to always listen to the snare. It took me ages to figure out where to put what. And I was stubborn as hell.
Though the more straight up 4/4 stuff was easy.
What made you call yourself Yorobi? 
(hopefully that’s not a stupid question!) 
I started with Jungletrain in 2006/2007…Not quite sure anymore 🙂 
Named it the Polyclinique because at the time I was living in a housing community which started out as a squat in the late seventies.
They had squatted these buildings that were all out-patient hospital rooms, in Dutch that’s called a Polikliniek. 
The building behind us was also a legalized squat and that used to be a hospital. 
Anyway, seeing as I also played a bit of everything DNB at the time, I thought it was a nice coincidence. 
After my hiatus at JT ( halfway 2011 – halfway 2014) I couldn’t come up with something better, so decided to keep the name.
With the way the industry has developed it seems there’s a trend of a lot of DJs choosing to give up regular/ routine radio slots and go down the route of releasing mixes semi regular and independently, would this be something you might ever consider now you have a loyal following through your show?
Well to be honest, I don’t think that will happen any time soon. Radio offers me the liberty to play what I like. And putting out mixes next to it is an added bonus. I love the randomness of radio and the interaction I have with my audience, even if I’m not the best host out there.
Aside from that Jungletrain has provided me with a great audience and has never told me off for playing what I like.
I’m interested to know about the life of a Dj who operates in the Netherlands, what’s it like there for playing sets out and about? 
Well that’s an interesting question.
I might not be the best example, as I don’t play out a lot and I don’t really consider myself to be a part of the Dutch scene much.
The flavours of dnb/jungle or whatever subgenre I play are generally not the most popular in NL.
In fact NL has always had a tough relationship with jungle/dnb as it’s mostly a techno country when it comes to electronic music.
Of course that has changed, but the major parties would probably never book someone like me. And I don’t mind as such. I’m happy to play a few gigs a year for a crowd that loves it, playing the music I love, rather than compromising cause that will get me more gigs. 
So when I play, I play mostly in smaller venues, crappy bars and illegal raves.
These are comfortable venues that fit 300 max. and at the bars everything sort of goes and you might get 10 people glued to the booth cause they like the vibe. 
The illegal raves are among my favourites to play, cause in general the vibe is very nice, accepting and colourful. 
Another thing that doesn’t help is that I don’t go to loads of parties, so many promoters don’t even know I exist. Or perhaps they might do, but they don’t want to take the risk. Aside from that most people in the scene are in their late teens/early twenties and because the scene refreshes so quickly (every 3-4 years there’s a new generation) only a handful of the old school heads are still around.
I think for a country with interesting producers (TMSV, FFF, Jay-AD, Coco Bryce etc. ) very little is happening in terms of parties that reflect those styles.
However, if you do get a full house with people who are into their music, it’s a great buzz! 
And that does happen, even with the scene being so small.
How about the venues . . .  what’s your favourite you have played at? 
My favourite venues…
Well one of them is definitely OT301, which is just down my road, have had many good nights there!
I loved playing in Simplon in Groningen, but also remember good nights at Waterfront and Nighttown in Rotterdam (now sadly no longer with us).
And Doornroosje in Nijmegen (before the refurbishment/move).
Playing in Newcastle, think the place was called Foundation was def an experience to remember, the English are just so much into their raves! 
And I also remember playing in Leuven, at some bar in Belgium and the atmosphere was just great!
Am I right in thinking as well as vinyl you use the software Traktor to dj? There’s always that on going argument within the industry of Traktor V Serato, so what is it about Traktor that you prefer personally?
I use Traktor, mainly cause it was given to me by a good friend who switched to Serato because that has fewer cables.
Other than that I’ve just gotten used to it, so there’s no real reason behind it. 
And yes I also still use regular records. Both for radio as for gigs (preferably within Amsterdam).
Moving away from software, let’s talk about WAX! Do you still buy a lot since using software to Dj? 
I do still buy quite a few things on vinyl. But it’s pricey. So I try to save on shipping by putting the shipment of orders on hold or buy when I am in a record shop (duh).
If I think records might sell out, I will buy them on Bandcamp, which is handy cause most of the time you’ll get the digital to go with that.
So where do you sit personally within the war that is STILL seemingly waging between digital Djs and lovers of Vinyl . . . Opinion please! 
Hmm.. I love the fact that I get the best of both worlds with my set up. I like vinyl. I like the fact that digital doesn’t take up so much physical space.
To be honest I think vinyl is a thing for vinyl-heads and I am one of them, however I do think that digital will be the most dominant force in the foreseeable future of music.
Having vinyl or buying vinyl is expensive and something a lot of people do out of nostalgia. Me included. 
I know there’s a surge in vinyl labels and labels that do vinyl only (I secretly curse those, because I can’t buy it all and shipping is another expensive thing) plus most of my sets are digital nowadays.
I sometimes lug around a bag of records if it’s within the city… but having the option to play it digitally is an advantage.
If I really like a track and I have no other options, I will rip it from my own collection.
How about your personal DJ set up? 
My set up: 
3 2×4 black Expedit closets propped up on heavy duty roller thingies (not sure what they’re called) so they’re slightly elevated.
one late 2012 Macbook pro + laptop stand
one Allen & Heath Xone43
one Zenheiser hd25-1
2x Technics sl1210mk2
1x Denon amp (dra-1000 I think is the type)
4x Tannoy speakers (actually two different pairs from the Mercury series, basically cheap but decent enough) one pair is mounted on the wall and the other pair to sort of cocoon the sound in or mitigate the reverb of my room. Plus it’s louder & fatter, so who needs the technical reasons behind it?
And a desktop computer to stream from and do other work on.
I’m NOT going to ask for a top 5 or anything like that. . .  BUT we have all got them tunes that we never get bored of and could play in EVERY set. What are yours?
I don’t play these tunes that much anymore, but these tunes were in my bag for the most part of my dj-ing years and I should get a fresh copy of them, as I played them loads!
*Digital – Deadline 
*Adam F – Metropolis
*Nasty Habits – Shadow Boxing (the remix)
*Marcus Intalex –  Neptune
*Amit – Swastika
Nowadays, I would like to drop these tunes in every set, but don’t because that would be weird!
*Skitty – Hornsman (X Nation remix, vid by Medika is always playing in my head when I hear this now lol! I love how rude and danceable it is, the horns <3) 
*Om Unit – Wagonist Riddim (Sully remix) I just love the high quality 8 bit bleeps and it’s so catchy and so incredibly well produced!
*djRum – Plantain (djRum knows how to tell a story like no one else can really)
*Tim Reaper – Magic Tonight  (Dwarde & Tim Reaper remix)
*FFF – Our Planet ( the edits are insane!)
There seems to be a constant source of wicked new talent within dnb/jungle coming through in the last few years, can you highlight some of the fresh faces within the scene that you are feeling? 
There definitely seem to be! 
I’m not sure if the people I mention will be fresh faces… because no doubt they’ve been going for a while, but there’s a few out there and their stuff is fresh to me. 
Yoofee is one of them. I have a release of his on Through These Eyes, a Berlin based label. I saw him perform at Deviate last February in Berlin (I was booked there as well).
And he’s very talented. He brings a more dub-type of sound to his productions, though it’s very much future jungle/slowfast type of stuff.
Mani-Festo makes interesting fusions between 130 -170 jungle/hardcore stuff which I am feeling a lot!
Sun People has got some very nice things lined up, I like that he has a big house/techno/funk/Brasilian influence in his productions and it’s usually quite light and upbeat feeling. That’s something you don’t hear in a lot of productions, most people try to make the dankest and darkest sounds, which I applaud. But to make something funky and flowing is equally something that can be powerful and amazing.
I think it’s time to talk about the issue of Equality. . . 
As much as this subject personally pisses me off and quite frankly it’s a pretty sad state of affairs that so much of the music industry still lacks it . . . But can you talk us through how you’ve found it being a female operating as a DJ within the industry? 
I would say that being a female in the industry has affected me.
Though as I said, in the early years I did get more support and later on less, but I am not sure whether that’s down to me being a woman.
However there’s a whole lot of incidents that happened over the years that have made me be a lot more stand-offish in thinking of dj-ing or music making as something serious.
I have to say that I heard some silly reasons for not being booked like “we booked a female dj last month”.
I’ve had remarks on for a saying that I got certain gigs or entered relationships because it would benefit my career. So to be entirely clear, any time I was in a relationship with a guy who happened to be involved in music as well it actually was more harmful for my “career” in most cases than it actually doing me any good.
For as far as being a dj can be a life sustaining career within jungle/dnb. Ridiculous really.
But I suppose I have had my feelings hurt a lot by people and I’ve hurt people too. Unfortunately because the personal and the professional lie so close in music, that wasn’t always handled in the most adult way. You can imagine all the consequences that came with it. But I have to say that a lot of it resembles how high school politics play out. Or that a lot of the reasons why people don’t end up booking you is because they hear something through someone that’s half-true and really hasn’t got much to do with them or the music you play.
In turn I’ve also felt hurt a lot to the point where I purposefully avoided places and people, like I somehow thought I was behaving in a way that was expected of me.
Other things I heard were obvious things like “you don’t play bad for a girl”, sometimes adding “because you know how most girls play”.
Or “There’s something about women playing that makes that the sets you hear are softer” (clearly never heard any hardcore dj play then)…
People giving me tips at the end of the set or leaning over the mixer.
I’ve even had a dj grab my throat when I said something about not liking the music and no one who did anything about it! Mind you he wasn’t even playing at that time, I could’ve understood his response if that was the case.
I have to say that at a certain point there were so little women involved in playing music and the ones that were there would usually get booked over and over again, which is great for them and I don’t blame them at all, good for them!
But I noticed especially in NL that there was a certain thing going on because they just wouldn’t book any of the other female dj’s, myself included. Or perhaps just one woman from their own town. Like that was their female dj and that was that.
The fact that there are still “female dj’s only” being organized already implies that there is a gender imbalance. You don’t see an “all male line up” being marketed as a thing. I have to say that up to now most “female dj only” nights I played at have never been a complete success. And by far most of them have been organized by well-meaning white men, not by women. I think its a bad idea to have female only line-ups and market them like that. Flipping the ratios of male-female, non-binary etc. is much more interesting. It’s not about turning it around to the other extreme. That doesn’t mean that there can’t be any all-male or all-female line up or line-ups… bottom line is just to be more inclusive.
Artist talk in the backstage traditionally consisted a lot of men talking about production and when women came in the vibe would change or they would just leave you out of the conversation entirely. And it felt totally hierarchical. To be honest though I also had a hard time connecting most of the time because it was either too noisy or I was in a weird place.
And there were quite a few times where the artists just tried their luck or were assuming somehow, that because I was backstage, I must be a groupie. I could get quite rude with them and I’ve made my point that they were out of line most of the time, but it does get tiresome.
At a certain point I got sick of having to prove myself to young guys who thought they were the bollocks and I got bored of the music that was out there, seemed like DNB was stuck in a rut and there was nothing new out there (2006-2009). Everything was just either louder or more minimal. It felt insular, I got tired of the general attitude of the scene and the same debates or non-debates and aside from that some people who I had worked with stepped down… and somehow I was never part of anything new event-wise after that (at least for a while). I failed to connect to the reason why I loved playing or why I even liked DNB. Just to go out there to be “seen” and get booked seemed absolutely ridiculous.
So when I stepped down from playing out and going to parties loads, I had time to look for other things to get inspired again. If you’d compare what I play now to what I played 15 years ago then that’s a dramatic difference!
The connecting part also has to do with this period coinciding with a lot of health issues and personal issues by the way, so it’s not fair to chalk it up to “the scene”.
After that period, circa 2011, I moved to Amsterdam after some unexpected turn of events, moved around a lot and even was homeless for a bit a few times (how good for my street creds lol). And all though I did go some gigs and started to collect different styles it was in 2014 that I started radio again and found my way back into things. This time without even the slightest intention of being part of anything, just playing the music I liked really.
There is an undeniable divide between men and women within the industry in regards to presence, do you feel this is because of some people’s attitude towards participation (dj, promoter, producer) puts females off getting involved? 
I think it’s definitely a case of attitude towards women.
Like the fact that there are all these crappy videos of women in flimsy outfits with plastic tits who don’t mix are an easy target for ridicule. You don’t want to be even compared to the idea of a sexy girl behind decks and not taken serious for your skills as a music performer.
Even if you’re the furthest from that it’s like a scary image in the back of your head that somewhere along the line you might get compared to that.
On the other hand, if you were a female dj that does like to behave in a sexy way, then you should totally be able to do that. Humans are sexual beings after all and we’re all adults, it’s just the way that certain people are praised for their behaviour where as others are judged negatively for the same behaviour.
There are plenty of examples of what can be considered as “sexy men who dj”, in fact they often pride themselves in their virility. I would like to leave that choice open for people I suppose, as well as their sexual and private choices in that, but I would like to see the attitude change towards what is expected, encouraged, discouraged or judged.
Aside from that: getting into all the technicalities can be challenging and a bit daunting when you only see men doing what they do and virtually no women. Take the laddish attitude that a lot of men do have, that doesn’t help.
We only need to look at the number of releases of women in dnb or the memes in Facebook groups to be reminded of that.
In turn this sort of misogynistic behaviour can also rub of on women and they conform, by either acting just as tough as men or holding women up to these insecure male standards (high school attitudes).
I think in part this also puts a lot of women of from promoting themselves.
I do see quite a few female promoters though, always have as well!
But I have to say that in recent years I have met quite a few nice and caring men and women who have been quite supportive either through conversation, by sending me music or booking me, something I never even expected to happen in the first place. So that is amazing and needs mentioning!
But now with initiatives like the EQ50 project being launched among others, this has got to be a great way to move forward right! 
I do definitely hope so, yes! I know that efforts for pushing female talent have been made before and were in varying degree more or less successful.
It’s an interesting and necessary thing to do, I hope that it will manage to do what it aims to do and I am very much on board with contributing to it so that I can see the participation of female talent in all aspects of the music scene.
Initiatives like EQ50 are necessary because it’s harder to get taken serious and take yourself and your ambitions as a person serious if you feel like there’s not many people like you out there or they’re just not that visible.
I think initiatives like this that offer women a safe place to get involved and develop is a good thing, because who knows more about all the challenges you’ll face as a female artist than another female artist? I also think it’s a great way of giving back a bit into a community and I suppose that’s what it’s about. Sharing a love for music.
Other than an initiative like EQ50, I think it would be great if promoters started looking into booking more women or people with more diverse backgrounds full stop. 
Aside from that, seeing more female musicians represented or somehow flipping the balance into more equal percentages would be great.
One achievement that most other djs don’t have is having a picture of their back being valued at €500+ on amazon! Ha ha…
It was random when I read about that. How did that cover shot come about!
Yeah not sure how it even got to be that expensive! Like I said if anyone wants a pic of my back, just hit me up 😛 
The music, I can’t help you out with! 
My boyfriend at the time did a lot of designs for dnb artists and one of those artists was BMT. 
I helped him out a few times by posing for various posters, flyers and record covers. Fortunately most of the time you can’t make out it’s me 🙂
Talking of ACHIEVEMENTS . . .  Recently you had the opportunity to play the legendary London event RUPTURE!
We had multiple conversations on the run up and I know you were a combination of nervous and HYPED, so how was it? Full run down AND also. . . Describe your set using 3 animal noises GO! 
I think I gave you three noises over the FaceBook chat we had, can`t exactly remember them, but I think it went something like “welp” , “roar” and “bork bork bork”…!!
I remember just fussing a lot about my set beforehand. Especially when I was moved from the 12-1 to the  4-5 slot.
I normally play warm-up sets, though recently I’ve been doing more main time slots as well. I tend to have easy intros and by the end of it the sound will have evolved into something more intense.
So I was nervous about putting all my bangers into one set, making sure it covered both what I would consider to be both a Rupture sound and my own.  And just the fact to be asked to play at such a legendary night, whilst I hardly have any shows in my own country just came as a total surprise, honour and .. yes.. pressure as well. I was really pleasantly surprised and blown away a bit by the amount of positive responses I had gotten, just because I got booked for Rupture. There were quite a few people who sent me music, which has been happening more and more in the past few years, but even more so now! Getting into the club was a nice story on its own to be fair. Ben Kei (Dalston Chillies) and his girlfriend were hosting me and managed to get us a black cab for free due to their connections with the JUNGLIST. So the taxi driver was a jungle head himself, blasting old skool all the way from Dalston to Corsica Studios. That was amazing in itself! But by the time I had gotten to Corsica Studios I was just so nervous, I was overwhelmed and had a bit of trouble breathing normal and I felt like my field of vision had gotten a bit tunneled (cue 31 seconds pun). I just tried to control myself a bit, so I think for the first 30 minutes I just sat in the back stage, to also get used to the fact that Corsica was already packed by then (think we arrived around 11ish pm). Fortunately the thing with Rupture is that there are always so many familiar faces to talk to that it made me forget after a while I had to perform and I just started checking out some sets and chatting a bit. The chaos and the friendliness that is so typical for Rupture made that I was actually reasonably relaxed and alert for my set and really wanted to go for it without fearing panic attacks behind the decks. It was also quite strange to remain so deliberately sober for such a long time! It was remarkable to play with all these female artists, who you’d normally never see on a line up all together. The line up was really diverse in terms of sounds they represented and that, in a sense, is unique too. This was the first time (aside from playing a few girl-dj nights) where the female artists outnumbered the male artists. This should happen more often and I do believe these nights can stand on their own without promoting it as a women-only night. I think its a great idea to flip the script and see what happens.I went on after Flight, she played a wicked set and it was surprising to see she brought a bit of vinyl with her as well. I brought two USBs with me just in case, cause for some reason whenever I play something is up with the CDjs and I wasn`t going to take the risk of anything going wrong on that end of things.
The set itself went great, people were into it, as far as I could tell. People were dancing on that stage thing in the back of room 1 and that was great to see, because I basically couldn’t look very far into the crowd, those CDjs are up so high! I heard people scream in excitement and there were a few people upfront who kept slapping the booth, so I would see pairs of hands, who I think had a great time! I zipped through my set rather quickly and I remember at some point thinking “that surely must have been an hour now”, because I had played all the must must must include tunes in my folder, but then there was actually still 30 minutes left. Chickaboo and Black Eye did an amazing job at MC-ing over my set and the energy was just great. I had people come up to me afterwards telling me that they thought it was a good set and another person telling me it was special (think that was Chris Inperspective, but he didn’t introduce himself). It was such a great experience, feeling so supported by people who are into that sound and are there to check out your set (even one person I know of who traveled all the way from Frankfurt to see my set, big up Steffi!) and loving it! After me Mantra and Panka did what was officially the closing set from 5-6, but that evolved into a hench b2b with Djinn and Flight going in as well and the night ending at around 07:30 am. On hindsight, it was over before I knew it. The process to it was incredibly intense. The set was amazing, cause of all things coming together, seeing how the music you play can also be received. It’s a little clump of gold and I will think about it and whatever happens, there’s nothing that can take that experience away from me.
Because even though I have played in the UK before (ages ago), playing London which has always played a key-part in the birth and evolution of the music you love, is special. Playing a night like Rupture, which for me has represented the past-present and future of jungle/dnb and whatever’s on the fringes of it the best in the sense that its rather diverse and open minded. To be included in that, even for a brief moment, is special.
Also see that you’ve been booked for Membrain festival in Croatia in the summer, looking forward to that? 
I’m incredibly excited to be booked for Membrain this summer! This will be my first summer festival abroad and first time in Croatia! I can’t wait to check out the music and the area! I`ve been told it’s gorgeous and close to the sea with a lot of nice nature and towns with old architecture around it! I am treating it like a holiday, I’ll be there for almost a week hahaha! 
Other than that I am excited to see a festival like this , its a bit daring, because I think it’s rare to see a line up like this, without very obvious names on there.
In a recent interview with Mantra that was published online I saw that you were selected as someone to look out for within the scene which must of felt pretty amazing! I’m Guessing having the backing of individuals like that must make you feel pretty cool right? 
Yes! That was really surprising! Not only did she mention me in that Red Bull interview, but also in the Resident Advisor podcast! I was amazed, again, cause there’s so much choice out there of great producers and dj’s to tune into. I suppose perhaps she knew of my existence cause we both have a show over at Jungletrain. It was a bit of a what-the-fuck moment to be honest, cause I knew about playing Rupture at that point (though the thought of it  was still a bit surreal). But like you know, a quick Google search and you’ll see hardly any shows; I don’t play that much around my country. So for someone like her, who co-runs a night I look up to a lot made me feel good about what I was doing!
Also like I said, I’ve been getting quite a bit of support from artists and labels that send me promo or tune in or take the time and trouble to contact me for bookings abroad, taking a chance on me, asking me for mixes and taking the time to connect. Something that I really didn’t expect. I just set out to do my radio show and play the odd squatters gig when I picked up where I left it and wasn’t at all intending on being cool (as in getting loads of gigs) and didn’t intend on being involved with too much scene stuff. I think it’s amazing that the producers, label owners, promoters and lovers of music can form such a nice community in a way… so its possible after all 😉 This sort of direct connection with both creators (within any discipline) and audience  is very inspiring and allows me to do this for a little while longer to see where this journey takes me.
So the mix you did for us, I’m excited! 
As a DJ who ticks the boxes within the weird and wonderful spectrum of DnB I personally resonate with I never had any reservations it would be anything but DOPE! Can you give me details of how you went about putting it together and how you went about selecting tunes for it? 
I’m excited as well!
I basically tried to select tunes that were about smoking weed. So anything with trees, weed, ganja, smoke, blazing, fire, higher, blunts, reefer etc in the title or in the samples went into the playlist. I tried to put in only a few obvious smokers anthems. So in that sense it was rather easy, but what was less easy is that most of these tunes have vocals in them. So trying to not let them clash all over the place was an interesting challenge. I’ve never really gave myself a theme like this to work with. Most of the time it will be the sounds that I am feeling and I try to create something interesting that will be worth more than just one listen. Like something that could be a soundtrack for a season or just something that`s a bit more dark or light… In this case, I gave myself this theme, not because I am such a massive smoker, but because I thought it would be a nice challenge to work with something that normally I view as something a bit corny perhaps. But to be fair, weed should be legal and people should be allowed to grow whatever plants they want. Just because people get a kick out of it, makes them relaxed and unrowdy… and the government can’t tax it.
Moving forward . . . What does 2019 hold for you? 
2019 will be an exciting and very busy year on all fronts, also music wise. 
There’s definitely a few things coming up soon that will be interesting, but I’m a bit cautious to mention too much about it at this point. 
But let’s say that I’m working on some more international gigs. The first of which is on the 18th of May in Vienna for Contrast in a club called Grelle Forelle.  And on May 17th I will be playing this old skool themed rave at the Melkweg in Amsterdam for BAMBAM. 
Hopefully, later on this year a collaboration with me and Tim Reaper will be released as part of a 4 tracker on Parallax records on 12″. 
I only worked on one of those tunes by the way. That was also one of those WTF moments in the later part of 2018, together with being asked for Rupture. 
This to me, has definitely aroused an interest in me to make (more) music (again). But I am very hesitant with just bluntly stating that I will make/ release a shit load of music. Don’t think it works like that either. 
I also have a lot of other things going on, I am a tour guide, motion graphic designer, teach workshops in video and motion graphics and do radio. 
Only so many hours in a day… sadly.
Twitter: https://twitter.com/yorobi

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