[dirtyradio]

DIRTYMIX 001 – Groovepig

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To kick off our new podcast series on dirtyradio, we take a dip into some deep house grooves from the ‘Celtic collaborative’ Groovepig. Each week, one of our invited guest producers and dj’s showcase an exclusive one hour continuous mix, giving them the chance to break genre barriers, and giving you an opportunity to explore a unique soundtrack.

  1. The Field – Foals (xIII Remix) [Kompakt – 2009]
  2. Brooks – Iwanchu [Aus – 2009]
  3. Rebotini – 1314 [Citizen Records – 2008]
  4. Pig & Dan – Moderation [Topmodel Records – 2010]
  5. Kerri Chandler – Oblivion [Soul Heaven Records – 2006]
  6. Giorgio Giordano – Patagonia [CDR – 2009]
  7. Josh Wink – Everybody To The Sun [Ovum Recordings – 2009]
  8. Martin Eyerer and Benno Blome – Pianoroll (Audiofly Twinkle Edit) [Great Stuff Recordings – 2009]
  9. Matt Sweeney & Bonnie Prince Billy – Blood Embrace (Acapella) [Domino Recording Company Ltd – 2005]
  10. Gui Boratto – No Turning Back [Kompakt – 2009]
  11. MyMy – Propain [Playhouse – 2006]
  12. Ricky Stone & Mikael Jonasson – Cantonese Woman (Acapella) [CDR – 2010]
  13. Guy Gerber – This Is Balagan [Cocoon Recordings – 2006]
  14. Lee Jones – MDMazing [Aus Music – 2008]

Despite the difficult schedule, we did manage to catch up with the pair before the release of the mix to find ot more about this project!

  • dR: So what’s with the name Groovepig?

    Mpig: “Ah yes, its not very interesting really, but it stems from a long standing ‘inside joke’ that came from a note Dpig had left about guinea pigs, which was lost in translation.. Because of the misunderstanding, one of us thought it was ‘genuine pig’. When it comes to our creative principles, groove is king, so when it came to choosing our collaboration name Groovepig seemed to fit perfectly.”

  • dR: Was it easy working as an ‘incognito’ collaborative?

    Mpig: “The motivation behind this project was too see if we could create a mix that focused purely on the momentum of the sounds, whilst combining our interests in house music. We hit it off instantly, and despite a lot of changes along the way, the result was a well crafted mix that we put a lot of thought into.”

    Dpig: “It’s totally different to working together at a live event where you can choose a direction based on the crowd, you have to trust your instinct in the studio and offer genuine feedback to each other along the way. Sometimes it means purging hours of work, but the end result is worth it.”

  • dR: How long did it take to get this together?

    Dpig: “It took a very, long time, longer than it should – perhaps an 8 month journey from conception to final touches – maybe a couple of hours a week. We were transferring files back and forth over networks and working on it when we had time out of our personal schedules – sometimes a couple of hours a week!

    Mpig: “The relaxed time-scale also gave us a chance to think about the sonic quality of the mix, a skill that is difficult to master in a live set-up. Ableton facilitated the necessary flexibility and Dpig worked really hard on the mastering, we wanted to get the best out of the sounds.”

  • dR: Did you find yourself drifting into unfamiliar territory?

    Mpig: “Definitely! In fact were able to really look deep in our record boxes and pull out gems that might not necessarily work in a typical set, but we were able to extract elements from those tracks and layer them to create some great textures.”

    Dpig: “That’s what I love about house mixing – the idea is groove – so you can really blend in a track
    underneath to the point that everyone is oblivious to the mix actually happening until something really obvious comes in… I’m a real “house head” so it was only a matter of time that I threw in something deep…. loving how this is going… so interesting. I found that the tracks Mpig threw in really allowed me to slide into something more meditative… a real nice constant groove.”

End.