Derek Carr
Derek Carr has been producing and releasing Detroit-tinged electronic music for almost two decades. He has recently released music on labels such as ‘For those that Knoe’, ‘Revoke’, ‘Subwax’ and ‘Firescope’. Born and raised in Westmeath, Derek got an early taste for finely crafted melodic techno through compilations like Network’s ‘Bio-Rhythms’ and Warp’s ‘Pioneers of the Hypnotic Groove’. Having been a fan of bands such as Kraftwerk and Depeche Mode through his formative years, Derek felt drawn to this new sound coming from Detroit, Sheffield and Leeds. Recognizing the home made ‘punk’ ethos of early ‘Bleep techno’ he began to pick up second hand instruments, initially investing in a cheetah sampler and boss drum machine. In 2001 Derek launched his own label ‘Trident Recordings’ and released the ‘Copper Beech EP’, a collection of deep soulful techno.
Q1. How did the passion for music sparked and what inspired you in your
early stages of your career?
I was always a fan of music, from an early age listening to my mum’s radio in the kitchen or to car radio on long journeys. As I got older, from 11/12 years old onwards it became more of a passion, I started buying Smash Hits magazine and got into pop music. I loved Duran Duran, Depeche Mode, New Order etc. In 87/88 I started hearing the first stages of house music, usually pop/house cross overs, but I knew this was a sound I liked. Bands like 808 State were hugely important in inspiring me to give house/techno a go. So I bought a little sampling keyboard and have been making music ever since.
Q2. After 20 years of activity, would you say you would do something
different?
I just do what I do — the early 90’s were a key period for me — the Detroit sound: melodic, funky, soulful is what I have aspired to ever since. I try to vary my style so as not to get stuck in one genre. I love making electro, acid house, deep house, dub techno, even drum and bass. It’s all House music to me.
Q3. How much time do you spend in the studio?
I wait to be inspired and then can spend 2 or 3 weeks working on tracks. When the inspiration goes it might be 2 or 3 months before I turn back on my machines. So it’s hard to say exactly how much time I spend in the studio. I once went 2 years without making music. But that hasn’t happened since.
Q4. Can you talk to us about your setup and about that piece(s) you’re
‘in love with’?
I am using Cubase (as I have done for many many years) as my DAW. I recently built a new PC and installed an ADAT Card in it — so the big digital desks are gone. I use Yamaha Monitors, have my studio all fitted out with noise reduction materials. It all sounds great now — no background noise.
I have a constantly evolving bank of hardware synths, I really like my DS Mopho at the moment. I use it a lot for basslines. I’ve had it for a few years but only lately started using it a lot. I also really like the Behringer Pro 1 and the Roland Boutique SH01A. There are so many synths out there at the moment, it can be tempting to keep on buying them.
Q5. After the recent period of success and recognition, what are your
musical career plans?
I don’t really have a plan — I just keep doing what I do — make music — I hope people like it and see where it takes me. I will be working on getting more music out on my label, Trident Recordings over the next few months and years.
Q6. With a broad vision over both music itself and the culture that comes
along, how do you see the whole scene/culture and what would you
change/improve about it?
I see 2 scenes really — the commercial, big festival EDM/Hard Techno Scene that is all business and as much about social media and profile as it is about musical talent. And I see the true underground, which is flourishing at the moment, really exciting talented producers, labels and DJ’s cropping up every week. This is where the beauty of this music still lives. I’d love to see a push from the major media outlets to promote the really talented producers but unfortunately that’s not how it works anymore, the meritocracy that dance music used to be is pretty much dead. Money has taken over. But the true underground, with the people who have a real passion for House, Techno, Acid.. whatever.. will continue to flourish.