INDAMIXWORLDWIDE.COM - The Disco to House Music Daily Update - MATTHIAS HEILBRONN: (HE)ART OF SOUL...

MATTHIAS HEILBRONN: (HE)ART OF SOUL…

(He)art of soul, unless this might be soul of (he)art… Who cares? As our man has for a long time proven how he’s blessed with both of’em including a big… heart for those counting among his friends. Accessible as much as his activities allow him, open-minded and showing a lot of humility – as many qualities which have no doubt been for much on his complete integration with another way of life - this German migrant has progressively achieved makin’ a name that speaks for himself in the NYC DJing/production circuit. And the current buzz made around the remixes he’s delivered for funk diva Chaka Khan (currently at #1 on the Billboard Dance Chart) look like nothing but the recognition of an undeniable talent. Yes folks, we’re speakin’ about Matthias Heilbronn. Who else?

Hey Matthias, long time no spoken. Wie geht’s mein Herr?

Very well, sir! Can't complain..

Looks like you’re pretty much busy at the time with an impressive series of killer grooves and quite some attention judging by the current buzz around funk diva Chaka Khan who you’ve reworked ‘Disrespectful’ for in a blooming way. One reaction?

I have to say, that in the 15 + years in the business, this has been by far my busiest. It's a good thing that I am working quicker than ever, and I seem to be more focused as well. Besides from just being busy, I have also been blessed with being able to share my music with some incredible artists! Chaka Khan has always been my absolute favorite female vocalists. Hell, I grew up on Rufus and Chaka, been to her concerts, lived, loved and played her music since I have started DJing (a Loooooong time ago). Having Mary J on the record as a bonus isn’t too shabby either, lol. I also worked on Jill Scott, another favorite of mine, Angie Stone’s duet with super diva Betty Wright (another blast from the past, which is always in my record box). Stevie Nicks (Pretenders) and Kelly Rowland (Destiny’s Child) with Snoop Dog. Most of it is still coming out, but Chaka hit the stores, and is currently # 1 in the Billboard dance charts, which is an amazing feedback. Sometimes it’s hard, when you work on so many projects at the same time, and you don’t really know if people are gonna get it or not.

I feel, that I am really not the type of guy to go into one direction, and one only. I try to feel out each individual track and add what I think it needs, to take it where it should go, but at the end of the day, they all are a reflection of my state of mind, so then you are left with hoping that there are other people out there, that are feeling the same way, or feeling the same thing.

Seems like those veterans including Chaka Khan, but also Patti Labelle, in addition to Randy Muller formerly of Brass Construction or Patrick Adams – and this also applies to rock with bands such as Police, Led Zeppelin and the SexPistols – haven’t said their last word. One explanation?

Maybe they are running out of money, lol. Who knows!!! Look at Michael Jordan… He retired how many times? He certainly didn’t need the money, but he loves basketball so much, that he didn’t wanna let go, until he couldn’t be one of the best on the court anymore. And why? If you still have something to say or do, go for it. I think it would be a shame if the next generation doesn’t get to experience a true diva. I love Mary J Blige, but can she hold a note like Chaka? No way!

I just went to see Earth, Wind & Fire again. It was amazing! Grant it, the old songs did it for me, but fact is, they still know how to perform, and you most likely will not see that kind of energy, tightness, soul, and overall love for the music at a Justin Timberlake concert. We still need them to teach us something, just as we need the old school DJ’s like FK, Tony Humphries, Frankie Knuckles, Louie Vega, Danny Krivit, Danny Tennaglia, Derrick May, Marshall Jefferson, the list goes on, to show some of these young folks, what it really means to DJ. Most of them still think it’s about being able to mix two records together properly, going from one outro into an intro, playing two hours of peak time hits, or better yet, having their computer program tell them the bpm, and their effect box giving them the correct preprogrammed delay time. You can’t even really blame them, cause that is all they know, unless they had the chance to hear one of these guys go all night, mixing all kinds of genres together and making everybody lose their minds, no matter what they thought was their ONLY choice of music.

Back to the artists; sometimes it works sometimes it doesn’t. I was pretty disappointed to hear some of these old cats, trying to produce their own music in a nowadays style. Either you go out and you are ready to go all here and now, and then you should hire Timbaland, Neptunes or whoever is hot right now, or you go back to what you know best, and produce it that way. The in between doesn’t work.

I haven’t heard Chaka’s album, only the single that I worked on. It’s produced by Jimmy Jam & Terry Lewis, who ruled the 80’s with their productions for SOS Band, Alexander O’Neal, almost all the Janet Jackson album’s, even Heaven 17’s “Only Human”. Their shit was off the hook! I hope the rest of the album goes back to that feel.

I think it’s almost a shame to see legends like Jocelyn Brown do these meaningless tracks with unexperienced producers who don’t know how to write a song, nor get the best out of a singer like that (not talking about Incognito or Nuyorican Soul, those rocked!), Aretha Franklin trying to sound like Brandy, Ron Isley (Isley Brothers) trying to sound like R. Kelly and Snoop Dog combined, at least lyrically. I don’t think these artists shouldn’t evolve, and stick with doing what they did 20 years ago, but they also shouldn’t try to act as if they were something they are not.

Jaheim somehow managed to get Gamble & Huff to write songs for his new album. Man, that’s gotta be hot. The way he sounds somewhat like Teddy Pendergrass, but now and fresh, with Philly’s best. Dude, I can’t wait for that shit to drop!!!

I tried to do this with Chaka’s joint. I took the funk that I grew up with and gave it my own twist; a really simple groove; Bass, gtr, Rhodes, horns and percussion, classic 70’s style, a fat beat and, it just started bouncing. It was such a trip in the studio! On the house mix, I did exactly the opposite; I used the energy that both of these great singers had, rapped it up in some tough beats, added a nasty bass and let them do the rest. Whereas I really pointed out the bridge in the funk mix, I took out almost all the keys in the house mix at the same point and just let the vocals do the talking.

That project might pretty well contribute pushing the so called club mix back at the forefront if ever the radio programmers stopped thinking in terms of format…

Well, there are a lot of mixing formats going on out there, so programmers won’t have much of a choice. They have to start thinking outside of the box. Hip Hop artists are using house beats, techno and trance sounds, deep house producers are going tech, techno and trance DJ’s are playing minimal and deep. I think it’s great. Don’t get locked into a category, draw from your influences, new and old..

Let us know what has led you to work on such a project, but also with Ledisi, Stevie Nicks and Physics…

I think I was just at the right place at the right time. I did remixes for Ultra Nate and Jody Watley for Peacebisquit, an agency that I am working with a lot now, and since they really liked what I did, they included me in all the upcoming projects.

Ledisi was first, the label loved it so next was Chaka, then Angie Stone, who shares the same manager as Ledisi, and so on… I got asked to do Physics by Seamless, as I had worked with them before, mixing the Bargrooves “Citrus” compilation.

Stevie Nicks and The Pipettes were two other productions I got offered through Peacebisquit. I originally was going to turn them down, as the originals were so different from what I thought I could contribute to, but I decided that I wasn’t going to shy away from a challenge, and they came out great!

I took Stevie Nicks “Edge Of 17” totally dark and minimal techy, and went all reggae pop on the Pipettes. It has a touch of Lilly Allen. It was fun, and I feel more confident then ever. I kind of found out, that I can find something in almost any record, that I can identify with. It’s just a matter of using that, and making it your own, of course, while keeping the integrity of the artist’s message intact, lol.

As a producer but also a remixer, do you feel like there are specific distinctions from a project to another. If so, which ones?

Every project is different. When remixing, I think it’s important to listen to what makes that song work. Sometimes it’s a hook, sometimes it’s an energy, sometimes it’s a bass line or another melody, or even a beat. That’s what I am looking for and that’s what I am going to use as a foundation for my mix. It doesn’t make sense to me to just say; “Fuck it”, this is going to be a Matty Mix, whether it works or not. It has to be a bit of both.

A production in most cases is something that I will start from scratch, so it depends on where my head is that day. Sometimes, a label or an artist will approach me with a song that needs production, and that I will approach pretty much like a remix…if you ask me, a remix is just another way of saying produce this song, take this money, but we don’t wanna pay you royalties. Labels took advantage of young and starving producers in the 70’s, created this label: “remixer”, and somehow are still getting away with it. No news flash here, that the music business is shady.

I’ve heard of some recent resurrection of an old project of yours back in the daze when you used to work alongside Mike Delgado. One comment?

Well, the whole Suburban and 4th Floor catalogue was just picked up by Defected, so there will be a lot of Deep Zone resurrections, but I assume you are talking about Jamie Lewis’ “Unity”, which samples our “Live in Unity” hook?

I am always flattered, when somebody thinks our, or my work is worth sampling. Not quiet sure, why he didn’t have Michelle Weeks just resing it and maybe even change it a bit, but I am also not complaining about the check he just sent. This probably will help our record, if we were ever to re release it, possibly with remixes.

Is it to say that you might go for another round together?

Who knows? Mike and I are still friends, but we live totally different lives and don’t get to see each other much. I am happy with where I am now, but I am also always open to anything.

With all these studio works, I guess you haven’t had that much time to practice your mother tongue in the recent weeks/months… When was it last time you came to Germany?

I went over to play at Cocoon in Frankfurt in April.

Havin’ established yourself for quite an eternity on the other side of the Pond, what’s your view of the German scene?

I love what’s happening in Berlin and Frankfurt. I think electro was interesting, maybe still is, but what’s coming out of the minimal – tech scene is really where it’s at. I haven’t played in Berlin in a while, but I certainly follow a lot of the artists and music that come from there. I’ve been good friends with Tiefschwarz for a long time, I know the guys from Jazzanova, Âme, but it goes much further than that…

With acts from Klaus Schulze, Can, Neu and Supermax, not to mention Kraftwerk and Maurizio, to Âme, looks like your former home boyz have always had a strong like with electro minimal influenced vibes, quite the opposite to the NYC scene you’re a member of. Any specific reason???

It’s all about influences. We didn’t really get to hear soul music in Germany, until we had BFBS, the british forces broadcasting service, and American GI’s that broad their music with them. That’s how I got hooked. I fell in love with soul and funk, and that’s what pulled me to the States.

Why the pull towards minimal? I don't know. Think Bauhaus. Germans are straight forward. No need to beat around the bush, warm up the surroundings to make the center work. We don’t need ten pillows on a bed to feel comfortable.

Radio and television is about making money, so they went for what sold. In the UK, they managed to blow up the Acid craze, that came from Chicago. They packaged it nicely and turned into a trend. I assume, that's how it got to Germany as well. As there was not much support for the soulful stuff in Europe at that time, acid turned into techno. Hip hop was still too underground. At that point, we still had house music on the radio all the time in New York. Unfortunately, someone decided, that hip hop and R&B sold better, so it completely switched from one day to the next. There really hasn't been much support for house and dance music on the radio over here. There are certainly no dance videos on MTV. Good thing we have internet radio and podcasts now.

More and more producers in Europe established themselves, created their own sounds rather than copying styles that were coming from the US. Drum & bass was born in the UK, later 2 step, in Germany I was hearing more and more German rap and even reggae, with German lyrics. I think there was a need to create something own. Before you knew it, there was electro. I think it gave producers and songwriters confidence. Instead of trying really hard to sound like something that was already out there, people started to push boundaries. I am sure the "Love Parade" and the fact that some of the biggest DJ's in the world came over to play, had something to do with it too. There is certainly a bigger appreciation for Detroit techno, rather than the commercial, techno and trance that was big before, but it's got it's own sound now. I love it!

A lot of American DJ's and producers didn't feel the need to look anywhere else, and watch out for new sounds coming from other cultures. I think that's why the sound over here was quiet boring for a long time. Our biggest influences came from the radio and TV so hip hop, R&B and soul. I think that's why it stayed soulful. That sound used to work everywhere in the world for a long time, but it changed dramatically. A lot of DJ's started having a very hard time, playing in Germany, Switzwerland, even Italy. The once that embraced that change and demanded being able to get those records over here, as for a long time they were not in the stores, stayed around, a lot of others disappeared. New York was going through a tuff time. Our last two mayors sucked all the soul out of the city, in the name of making the place safer, so it took a while to get back on our feet. But I think the confidence is back here as well. There is yet another cross over sound, and it's coming from people like Dennis Ferrer, Quentin Harris, Jerome Sydenham and Ibadan Records. A combination of the minimal and techy sound from Europe, combined with the soul from the US. It's the only way to survive. You gotta open your eyes and ears, get inspired, and use the new with what's inside of you. Also, you have Satoshi with SAW, Deep Dish' s Yoshitoshi, Erick Morillo and Danny Tennaglia, UR, Carl Craig, the 3 Chairs and Derrick May from Detroit never more acknowledged. It's a good time for music on both sides of the Pond, wouldn't you agree?

Do you feel like you might have inherited anything from the German

scene musically speaking?

Nope! Not looking back. Not to say that I am not very much inspired nowadays by what’s going on.

No need to say how both European and American environments are quite different, eventually causing a shock for the new comers. Do you remember your first day & night in America and the way you’ve felt?

I had an address for a some friends of a friend of mine. He had met them on his last trip to New York, and said that I could stay with them. They all worked in bars and clubs. When they picked me up from the train station, they basically pushed me into a bar and said I should DJ. I was so excited, I almost peed in my pants. It was one of the best nights of my life. The Beasty Boys came to the Bar, Grace Jones tried to get in drunk, and was turned away. It was unreal!

There were musicians on every street corner that blew anything away that I’d ever heard. Joyce Simms “Summertime” was blasting from every car stereo. It was summer in NY, crazy hot and humid. I will never forget that smell. Not good or bad, just New York!

What made you decide to leave Germany? Is it that you felt like you were meant to live there? That you’ve somehow been caught up by the so called ‘American dream’?

I loved NY from the moment I put my feet on the ground. After going back and forth for a couple of years and finally got offered an internship at FK’s studio. It was perfect for me, so I stayed.

The American dream is to come from nothing, work hard and become rich and famous… Still waiting for the rich and famous part!!!

Not taking it so litteral, I have come from DJ ing as a little kid in a small club in a small city in Germany over 20 years ago and just

worked on Chaka Khan…

Let us know about your childhood, your lifestyle, the city where you lived back then…

I lived in Bremen, North West Germany, almost all of my life. I grew up alone with my mom, who was a teacher, was pretty good in school until I discovered clubs and DJing. Music was always in my life, but it became my life, when I turned 15 and got my first job.

How has your environment reacted back then in regards to your decision to come to America?

Nothing but supportive! I think most of the people that I grew up with in one way or another wanted to get out of Bremen. It’s a beautiful City and just as Berlin, somehow inspires creativity, the difference to Berlin though, was that if you wanted to do something with that creativity, and become successful, you actually had to move to at least Berlin… or New York. I picked NY.

Suppose not being who you are nowadays, not achieving your adaptation to the US environment, what would you be doing?

Live in Berlin…..for real, though, I’d probably be a chef. I started down that road right before I got offered the internship, so if that hadn’t happened, I would have probably stuck with cooking. I still love it!

Let us know about your main influences?

My mom has always inspired me. She was so supportive, even when it meant letting me go away and move to the US. She worked her ass of, and all she cared about was making me happy. Still does…

Musically it was Marvin Gaye, Earth, Wind & Fire, The Beatles, later on roots reggae and a lot of dub and then came house…. DJwise, to this day, nobody has ever gotten close to Larry Levan.

Then about what you’ve got when comin’ to America?

Direction…

Did it correspond to the initial idea you had of it?

I didn’t have an idea. I just wanted to be part of what was going on here. I think I am a part of it now.

Did you feel like a kid in a candy store when arriving there?

I sure did, and the great thing about New York back then at least, was that with the right attitude, it would welcome you with open arms.

Have you ever felt a doubt, not to say a disappointment?

I work in the music industry in New York. Every other day is full of doubts and disappointments. But when you embrace it, you will soon figure out, that the day after might very well be the best day of your life, or at least close to it.

Your view of the current situation…

Looks like we’re in the middle of a total revolution on many aspects, from the death of the physical formats to the arrival of a new generation of consumers with a far different approach as compared to the one which was ours back then.

One specific comment?

It is what it is. We have opened Pandora’s box, now we have to deal with what comes out of it. The only way to go is forward now. I am just hoping that it will go quicker, because it’s not looking that great for a lot of people and businesses.

I am willing to see that there are possibilities, that will make it all worth it, actually better than before, but we are so far off at this point, it’s not even funny.

Just considering what options you are given as a producer, remixer or artist in general, there just isn’t a budget to truly do what you want and need to do, subsequently, a lot of the music is lacking quality.

What do you see as the good/the bad side of the things?

Music can be available to everybody, at any time, anywhere.

Nobody buys music anymore. The format is so anonymous, replaceable, cheap and meaningless, that it’s quiet understandable, why nobody wants to pay for it.

Forthcoming projects? Any album in the pipeline? A compilation?

I got some album ideas and tracks, but I am not even gonna get more into it until I actually find a label that I think is right for the kind of things I wanna do.

Coming soon:

Lee Genesis – “Love Revolution” _ Remix

Kelly Rowland & Snoop Dog - "Ghetto" - Remix

Ultra Nate - "Give It All You Got" - Remix - Tommy Boy

Angie Stone feat. Betty Wright - "Baby" - Remix - Stax

Monique Bingham - "Something" - Orig. Production - Pata De Perro Music

Ultra Nate feat. Dajae - "Getaway" - Remix - Tommy Boy

Jody Watley - "Love Hangover" - Remix - Peacebisquit

Jill Scott - "Hate On Me" - Remix - Hidden Beach - TBC

Stevie Nicks - "Edge Of 17" - Matty Remix - Reprise – TBC

The Pipettes – “Pull Shapes “– Remix – Interscope – TBC

Colton Ford – “No One” - Peacebisquit