GMSF2K5 - ANTIX Interview

ANTIX – Gaian Mind Summer Festival 2005

Hayden Strom from ANTIX chats trans-Atlantic with Boston’s Dave Henshaw…

Q: Your debut album, "Lull," has often been compared to ATMOS's breakthrough album "Headcleaner;" not so much in terms of musical style, but instead in terms of musical ground-breaking."Headcleaner" was the first artist full-length to come out that perfectly blended the two seemingly contrasting genres of goa-trance and progressive trance. It was because of ATMOS that we now have "progressive-psytrance." "Lull," on the other hand, is considered by most to be the first artist album to perfectly blend the genres of progressive psy-trance and progressive house. It is because of ANTIX, some may say, that we have a genre called "psy-house." Was this "line-crossing" on your mind when you wrote the tracks for "Lull?" Did you enter the studio thinking you wanted to write "the next Headcleaner?" Or, did you just write the tracks and it turned out they made a HUGE impact on the global culture?

A: We have always been fans of ATMOS so perhaps in the back of our minds we were trying to write something that was along his ground breaking style, but most inspiration for us is in other music. This inspiration pushes us to write something new and innovative. The music that came naturally was a sound that was exciting to us, it just happened to be this psy house cross i guess. At the time we were really enjoying the sound Dj Nukem & Chab were making. This was cutting edge for us. Their fat prog/house bass grooves, simple rift ideas with rolling conga's and intricate drum programming. We loved their sound and their tracks fit perfectly into a set of more minimal progressive psy-trance. It was with these kind of ideas that "Lull" was formed. There is never really too much thought though. Rather if it feels good go with it, simple! At first we were unsure of how "Lull" would be perceived. I mean its always a bit of a gamble doing something new, luckily for us people liked it.

Q: Though many may only know Hayden Strom as a member of ANTIX, is it true that you've collaborated with many other artists and made many other tracks under different names? I know you worked with Sebastian Kruger for a few Spiral Trax releases under the name "BUSHBUMPAS," and you wrote a GEM with the guys in PHONY ORPHANTS called "Chicago Collins." Outside of released mixes and remixes, what other artists have you collaborated with and who of those were the best to work with? Your work with FREQ on the "Playground" compilation was amazing! Should we expect anymore tracks to be coming out of your collaborative studios?

A: Yes this is true, over the years both Barton and I have collaborated with other artists. Our first collaboration was with ATMOS, when he was in New Zealand in 99. This was a totally spontaneous moment. We had Tomasz to stay at our place, out on the west coast of Auckland. After a BBq and a few beers we fired up the the computer to have a bit of a play around... 12 hours later had a finished track... We later named it "All purpose" and gave ourselves a project name "PACE SETTER." We released the track on the first Manta single. That was first and only time we ever collaborated with tomasz.
Barton and I were completely stoked to of had this experience. The opportunity to learn some Logic Audio tricks and recording techniques, I think really put us in the right direction. Other than the PHONY ORPHANTS, Sebastian and FREQ, we have collaborated with Rob Salmon (NZ prog/house producer/dj) on a more club house number. This was cool, we really opened up to the ideas Rob presented. We would not usually not go so housey on a track. I think the combination of our trance/proggy techniques and his house roots really worked. We named this track "Tame the Beast". We have had a project on the go with the PHONY ORPHANTS since 2003. We named this "Mondayz Millioners" So far I think this is to be the most productive collaborative project with now 1 release on Nanobeat records "Coldies for Goldies" and two 12" to be released in the next month, "Egg in the Hole" on Nanobeat and "Bilando" on the sub label of ZMA, Astro records. All these tracks have been really well received so far and this combo we have really kicks. Over the rest of this year we plan to work on an album together. I am in Europe until mid October and Im based in Copenhagen. Jeppe and Emok are going to be in NZ late November. We will make tracks in both the Iboga studio and our studio in NZ, Slowburning Studio's. We are already underway with a 2005 remix of the "Coldies for Goldies" track. Stay tuned!

Q: Earlier in your career, you and your brother seemed inseparable. I have a pile of photos from festivals and parties with both of you on stage playing before huge crowds! Every ANTIX track - whether it be on ZMA, Spiral Trax, or Plastic Park, would always have a w/p line "Hayden and Barton Strom." However, it seems the past year or so you have been playing and traveling alone more. I would assume because Barton has become a family man. Is this correct? How has it been not having your brother side by side when you travel? How has it effected your time in the studio? Do you still keep in close touch when you're on the road? Have you ever given any thought to having a family of your own?

A: Yeah in the past we for sure hung out a lot more together. These days its a matter of time and economics. Barton is a father. For this reason he cannot take off for half the year on tour and its just to expensive for both of us to be on the road living in Europe. We also have a multi media sound production business in NZ, which can not be left alone, some one has to hold the fort! Its not so hard for me to pick up and leave as I have no solid ties in NZ. My girlfriend is Danish and we travelled here to Denmark together. lucky me!:) Touring and playing live on my own these days is all good. It has its moments and sometimes I do really miss the company and support we gave each other the last times we toured. We have not so long ago finished our new album and the time spent working on this and all other projects were quite intensive. So at this stage the break is all good. The end of a one chapter and on to the next. Barton plans to work on some new stuff of his own and concentrate on Slowburning Studio's. And I, on the down time will be in the studio working on tracks with the boys here in Copenhagen. We keep in close contact whilst im away on tour, there is always something that pops up that needs to be discussed between us. Barton will be making a couple of short tour's this year also. Australia this month, Japan in August and Brazil in October. Family for me is definitely on the cards one day when the time is right.

Q: When you played for Gavin Stevenson of Spectra Productions in New York City in February 2004, I noticed your live-set was created on nothing but a Pioneer Mixer and a Mac G4 Laptop. My friend Ricardo called the set you played that night; "the most sleek and sophisticated music (he'd) ever heard." Though your laptop is obviously what stores, plays, and manipulates tracks for live-sets - what types of gear do you use in studio making the music? Do you have any outboard gear or are you 100% software based? What programs do you use? Do you use E-Magic Logic? Perhaps Reason? Which are your favourites and why do you prefer them to others you use or have tried?

A: In the studio we run a G5 mac with UAD-1 PCI card inside. This is the main tool for us. We have always been Logic boys! We run Ableton live in sync (rewired) with logic also. This is a great way of getting variations in the loops and getting them tight in the mix. We also use Ableton for the Live act. There's so many possibilities with this programme. Our outboard gear in the studio includes: The Nord Lead 1, Novation K-station, Mini Nova, Waldorf Pulse, SH 101, MC202, 606, Lexicon FX. We Have a 24 channel mixer by spirit and an 8in/out sound card by RME. The spirit has a really nice EQ and recording synths through the spirit really gives our sound the texture we desire. I think our favourite is and has always been the Nord Lead. This synth is legendary for us and I don't think we've ever made a track with out it. It has such a rich, raw texture which can be manipulated in so many ways to create really nice synth sweeps, stabs , chords, pads and fat rift sounds. Everything is processed eventually through the mixing desk, sound card and into the computer via Logic where we then insert the plug-ins we want to use.

Q: Based upon your past music, it's very clear where your influences have come from - primarily, to my ears, labels like Slope, Vapour, and Zero Tolerance Records. When you look for influence, what artists and labels are your favourites? What music, other than trance, do you often listen to? Why did you choose Iboga to release "Lull" and "Twin Coast Discovery" - especially when I'm sure other labels were clamouring for the chance to do so?

A: Yeah, thats right, we like the progressive tribal sound, similar to whats on the above mentioned labels, also from LMR, Forensic, Sentient, SAW, Polaroid, Sog, Release Records, and from artists like Frank Beekers, Nukem, Frank E, Satoshi Tomei, Minilogue, Luke Chabel, DJ Nukem and many more. We listen to lots of stuff. Rock music like Nick Cave,THE STROKES, THE PIXIES, KINGS OF LEON, etc., also some down beat like BOARDS OF CANADA, THEIVERY CORP, etc. even a bit of country with Ryan Adams :) Copenhagen is our second home and Iboga have been our label for a while now,they are all good friends,they've done a great job for us so there was no reason to change. We did "Lull" with Iboga because they approached us,asked us if we were interested, we've always loved Iboga so we were really into it, and we figured if your going to put a lot of work into something like your debut album, you want to be completely happy with every aspect, including what label you put it out on. Iboga don't re-strict us at all we have a good business/friendship.

Q: As the years have progressed, the music of ANTIX has become much deeper, more sophisticated, and much more complex. Earlier tracks,like those on Plastik Park - and even "backslide" on Spiral Trax, had a more aggressive and upbeat feel to them. Aside from "Blood," the tracks on "Lull" had a more depth-oriented outlook. Tracks like "Chase" and "Darko" have since come to define "The ANTIX Sound." Even your track "Tane," that you did with Sasha Haske for Plusquam can be grouped into this category. Now, with the simply incredible collection of tracks you've released on "Twin Coast Discovery," you've gone even DEEPER and moved more towards tracks which can even be considered "emotional." "The ANTIX Sound" has now become one - to my ears – that represents human nostalgia and longing. "Cold Nights," for example, is one of these tracks. How would you classify your sound and how would you say it's changed over the years? What events in your life have helped mold and shape the way your make music and the sound you look to achieve in the studio.

A: Wow. Thank you! We do find it hard to classify our sound, but i guess it kinda falls under a few banners, namely progressive/tech/house with a splash of psy to spice it up a little. Our music has an emotional, moody, even melancholic vibe, with a groove. We dont purposely try for this it generally just happens on its own, it's a sound we enjoy. As before on "Lull" and now on "TCD" our music is evolving and growing with us, its like its taking us on a journey. Both Barton and myself have a good life, great friends and family, and we both love living in New Zealand. I think all these life experiences come through to the music. It's a really exciting time musically and in our lives. We still love making music as much now as we ever have. Sometimes you get a little transfixed on where you want to go, we keep reminding ourselves to enjoy the ride!

Q: Where would you say you stand on the issue of burning/copying CD's and recording live-sets? As an artist, trying to do the impossible of "making a living" in the global psy-trance community, it must be hard to see album sales account for only about 20% of the total people who have your album. On one hand, it must be great to have as many people as possible hear it. On the other, it must be tough to "give away" so many copies of something you worked so hard on. Some people would argue that "it's all about the music" but those idealists are NOT the ones whose livelihood comes from gigs and album sales. What is you opinion on the whole matter? Does it upset you when people copy and give away your albums? Does it upset you when people download your music or use it in demos without giving you proper credit? If you had to choose one side or the other, would you agree or disagree with copying CD's and recording live-sets?

A: Well, I guess it can be quite annoying that most people burn the CD's, but these are the times, I dont let it bother me too much, life ain't that bad, but with all the technology it's so easy. I mean if I was living in Brazil and I wanted a CD or some tracks etc, and I couldn't afford to buy them, I'd definatley burn a CD. It's better for people to have the music than not at all. I do have a problem with people who CAN afford and burn anyway, like they dont have one real copy in the CD wallet at all. Personally, I think the best way is to work with the whole idea, as they are with the on-line stores, Iboga now have one, also the big house ones like 3beatdigital.com and beatport.com. If the price is lower say $1.29US people will more likely buy a track, so the artists and labels are still making something. If people want to use our tracks for demos, thats cool, I dont know I'm quite chill on the whole thing... all I can say is that people should think about it a little more, if they want the scene to survive, the need to put something back into it.

Q: With artists like yourself, FREQ, and OCULUS giving a good name to Australia and New Zealand, it's clear that something about "down under" is very influencial in the writing of great music. How would you say growing up down there has influenced your writing and producing techniques? Moreover, why do you think there are only a limited number of able producers here in the United States? The people here are just as excited about trance, but for some reason, are unable to achieve the same levels of complexity and feeling in their tracks.Why do you think this is? Is it the weather? The lifestyle? What is it? And lastly, what other countries do you think produce great trance? In your global travel, where have you enjoyed playing most and where have you been the most well-received?

A: I guess life down these parts is a little less stressy, we are not so caught up with the rest of the world and its problems. I mean we are aware of what's happening in the planet and its current climate, but because of our location we feel it less Iguess.The music that we dig is mostly coming out of Germany, Sweden, Denmark, Swiss, Australia, and New Zealand. We have a lot of amazing producers here, so in ways it rubs off on you, the life style, the weather, everything. I feel we are very lucky to be from down under. I'm not sure why there is a limited amount of producers form the States, I'm not from there so I can only speculate, perhaps its because life seems so intense there, 24/7 information,fear, processed food(mostly) I dont know? perhaps its because the scene is only young, it could be a combination of all these things. There's some good producers in the prog scene like LEXICON AVE, DEEP DISH for example so it will be only a matter of time before something/someone tunes in im sure! And favourite spots so far, would have to be Japan, always great people, great parties and great food!

Q: One of the greatest compliments promotors and organizers have given to you over the years involves your humility. Many people have said how you and your brother are "just ordinary guys who make extra-ordinary music." Unlike other acts, who feel they have to act like rock-stars on stage and carry with them a huge ego, it seems like you choose the exact opposite route - trying to blend into the crowd and enjoy everyone's special talents the same way they enjoy yours.How would say this "humility" has helped you over the years and where would you attribute it to? What do you think when you see acts making shows of themselves on stage and/or being unappreciative to people who come out and support their music?

A: Yeah were just ourselves. I think coming from NZ gives us this non egotistic advantage. Being so far away we are not so influenced by the behaviour of other artists in the scene. In the beginning we felt so far away and detached from where our music was really being heard. 5000 people going loose to our tracks "Rainstick" and "Cant Quit" at the VOOV 2000 and we had no Idea. We were probably tucked up in bed at the time. It was a completely foreign concept for us. We were soon to be enlightened. We are not in for the fame but rather to be apart of a positive movement where we can express ourselves artistically with like minded people on the same buzz and have wicked time doing so! I guess having this "humility" has connected us with some really good people from all over the globe. The friendships we have gained are real and will last. Being all ego driven gets you no where with people. Its simply not an attractive way to be. I think those who behave like rock stars are almost comical. I don't give it much thought other than, Im glad thats not me! Its the only way they are comfortable presenting themselves maybe? But they should always respect the people on the dance floor who support them. As they are the reason they are even there in the first place.

Q: And one last question... if you had to pick any track that you've ever written or remixed - either collaboratively or otherwise,to call your "favorite" what would it be? To be honest, I have a pile of "favorite ANTIX tracks, but recently my favorite has been the remix you did of PASTE's "Code Red." Is it possible for you to pick just one? And what is in store for ANTIX now that "Twin Coast Discovery" is out? Do you plan on another album? Any new side projects?

A: It's a hard question, I mean i really dig Le Lascard and Quiet is the new Loud from TCD, Le Lascard... For me this is a really fresh and innovative sound for us. I am proud of these ones and i think especially Le Lascard will be a favourite with others too. I think if i was to choose a fundamental track for its style and direction it would have to be "Free as We Are." It was ground breaking for us, it was a line we wanted to pursue and develop. What comes next, well, we are just gonna keep doing the music we enjoy, and yes, you can expect another ANTIX album. We want to develop our other project FIORD, which will be a more experimental project. FIORD will have a more club vibe to it with use of more prominent vocals. We will also write some breakbeat under this alias too. We are really excited about this one..taking it to another level again :) but apart from that building up our business Slowburning Studios and enjoying what life's roller coaster has to offer. Yeeha! Cheers!

www.antixmusic.co.nz
www.slowburningstudios.co.nz
www.iboga.dk
www.mindgames.jp (to check out a party in killer Japan!)
www.isratrance.com (for CD reviews/discussions)

ANTIX will be performing live ath the GAIAN MIND SUMMER FESTIVAL 2005 on June 23rd - 26th in Central Pennsylvania, USA. See you at the Stones!

June 8th , 2005