Defective Audio, OD404, Base Graffiti, Tomcat … Kaktai Records, Spinball, Spidertrax … A single thread links these defining names in the hardhouse scene - plus many more aliases across the spectrum of dance music. That thread is Dom Sweeten, a uniquely influential DJ, producer, and studio engineer, who will be gracing the decks at the Hard South Circus of Wrong on March 5th.

Dom Sweeten began his musical career back in 1994 in the Brighton free party scene. With his friend and fellow DJ Superfast Oz, he went onto to form OD404, ‘arguably the most successful hard house production partnership in history’ says Mixmag journo and hardhouse alco-pedia Dave Curtis (and who could argue with that?!)

Dom Sweeten has become the producer that everyone wants to work with, his prolific imprint a guarantee of quality. In the opinion of many, he has produced and remixed many of the very best tracks in any genre - not to mention coining the best biscuit-based sexual-preference metaphor in the history of hardhouse interviews: ‘I prefer custard creams over bourbons, buddy.’ (Insekt interview, HF, 2007). To name but a few of my own favourites, ‘Automation’, ‘Panic Button’ (as OD404), ‘Eject’, ‘Glazby & Maddox’s ‘Tortured’, ‘Hyperscum’ (with Marc Johnson), ‘Floorburn’, and ‘Freakin it’.

It is therefore hard to overstate Dom’s contribution, both historically and to the present state of the scene. So, rather than me waffle on any further, I asked some music biz insiders for their own perspective on Dom Sweeten A.K.A. Defective Audio A.K.A. A.K.A…

Given Dom’s local connections, I asked some of our leading local hard men for a statement. First and most obviously, KRUNCHIE, Hard South star resident, who has made Dom’s music almost synonymous with the club vibe so much does he play his tracks. Krunchie told me:

‘Dom has a knack or talent for making good quality hardhouse that is very melodic. I love his layouts and lack of breakdowns that makes the tune tuffer. Percussion is a big thing for me too, Dom always uses this to maximum effect. Dom’s style is unique, hard, dirty and brilliant and I will always have massive respect for him.’

I then turned to two of our leading local up-and-coming talents with a discerning ear for the best music:

‘Dom’s music is always perfectly produced, with really crisp sounds. This always follows his distinctive style. He has inspired so many artists in the hard dance scene … Lots of people try to emulate his sound, but no one can do it as good as him.'
Durty Den (Harder, Twist, Insurgence)

‘Dom in his various guises has been at the cutting edge of hardhouse production for an eternity and has done more than anyone to drive forward the evolution of the genre. The quality and quantity of his output remains unsurpassed.’
Steve On-Tour (Harder, Twist)

Finally I asked three of the most respected names in the scene to give me their take on Dom. James Nardi (Killer Hurts, Insekt, Twist), one of the top-rank studio engineers/producers of the moment, told me:

‘I remember the first time I heard a Dom Sweeten tune, it was Kaktai 1 [OD404 ‘Prankster’/ ‘Prozac’]. That was about 12 years ago and I can still clearly remember how impressed I was with it. It was so different to other records I was buying at the time.

‘Twelve years on and the man is still delivering the goods. Pushing new boundaries, infusing different styles, creating new and fresh sounds. He is the producer we all look towards and I must say one of the most down to earth guys in the scene.’

Marc Johnson, of Tripoli Trax, Flashpoint and Insekt, was short, sweet and to the point:

‘Dom Sweeten is the producer who does most to carry the hardhouse scene … He is unquestionably the very best the scene has ever produced.’

Finally, when I asked His Majesty, King Andy Farley, Lord of the Dance and Hard South’s most popular and regular star guest, he gave me the following statement:

‘I've been an avid follower of Dom's productions ever since I picked up the first OD404 release 'Prankster' back in 1998. The sound was so fresh and exciting that it became a staple in all my sets. For me his production has always been of the highest quality, and his ideas never cease to amaze me. Tunes like Fireball, Block Party, Pump Up The Sound, Let Me Tell You Something, The Hulk, Freakin It, Hold It Now, Nails and Psychomp along with his remixes of Meltdown, Tortured, Coming On Strong, Wanna Play House, London Let's Ave Yer, and Propaganda 303, to name just a few sound as fresh today as they did when they were released.

‘I had been eager for us to work together and finally got the opportunity to do so in 2007 when I went in the studio with Nik Denton to record Big Dipper for Toolbox. Following this we started working in the studio regularly on both original tracks and remixes. We work really well together as we both come from a 90s clubbing background, and are not afraid to stick our necks out and do something a little bit different. I also had the pleasure of playing back to back with him at Rave On in Leeds at the end of last month which was great fun and a long time coming!

‘Look out for a future collaboration 'Shizzle' which is on an upcoming project for Tidy, and also Dom's remix of Ross Homson's 'Moose Knuckle' which blew me away the first time I heard it. There's also three more tracks ready to go as the next release on Cubed due in March.’

Dom is a full-time engineer, producer and DJ, with a packed diary. However, ahead of his appearance at Hard South, he found the time to answer some questions I wanted to ask him. I began by asking him about his work in the studio, a world many of us on the dancefloor know little about, but the place where it all begins.

Hi Dom. :) First, can you tell us how long it usually takes you to make a track or a remix?

DS: Anything from two hours to two months. It depends on many factors. I may start something and have the basic groove sitting around for ages before I eventually turn it into a full track. I may also ruthlessly hammer out a track from scratch if I need an extra weapon for a DJ set over a couple of hours.

It depends on what frame of mind I am in when I get into the studio. Sometimes I am in the mood for doing slower funkier stuff so will load up a groove and see if it inspires me to continue with it, likewise for a harder
track.

It can also depend on how particular I am being about getting the exact sound I am looking for or if it is a remix, then the elements that need to be included in the final mix.

Do you use synths or any real sounds or is it all samples these days?

DS: I have a good collection of synths, both hardware and software. I regularly use all of them. I do use a lot of samples too. When I have more time to spend on a track, I make many of the sounds from scratch, processing them through either outboard eq and filters, computer based plug ins or a combination of both. [Ed’s note, techies among you, check this out: 404studio.com ]

Any sound can be twisted into something cool to use. I gave my mic to my nephew who has started a band but I quite often record random things in the studio and make use of them somehow. Samples will always open up many more possibilities in sound design so it is good to mix things together for a unique edge.

Did you do anything special for 'Freakin it'? The sound quality is unbelievable!

DS: ‘Freakin It’ was done using a popular vsti called Vanguard. I would have processed it further with choice plug ins to make it sit right in the mix though. The main track kinda falls into place once I have the beats and bass sorted. Most tracks write themselves in many respects and if you go with the sound rather than fighting against it then it can be far more rewarding in the end.

Interesting… The punters are asking when will there be any more OD404 tracks coming out of studio 404.

DS: I have been busy with many projects over the recent years. OD404 seems to
have taken a back burner for now.

Tell us the current crop of your hardhouse tracks we should be looking out for - which are the new ones you are particularly happy with out now or in the pipeline?

DS: I have done a few tracks recently that I am particularly happy with:
Tomcat - Here We Go Again. This is out now under Spinball Records and has a massive energy without having to be hard as nails. It is easy to write hard as you like tracks but harder to write something that really makes the dance floor erupt with a rush.
Base Graffiti - Code Jam. This is another favorite, also out now on Spinball.
My recent collaborations with Andy Farley have also been some of my top
Tracks - Shizzle, which is coming out soon will be massive.
[Ed’s note, for download purchases, these and other tracks are or will be available from flashpointrecords.co.uk ]

Let’s talk a bit now about Dom the man and his life. You moved Studio404 from Brighton to the Cheltenham area a few years ago. Do you miss Brighton at all?

DS: This will be my 4th summer here in Cheltenham. I miss the beach and the café vibe of Brighton for sure, but my family and I have benefited so much from the move. I will always enjoy coming back to visit friends in Brighton and spending time at the Marina eating out in all the good nosh up joints.

You still seem really passionate and enthusiastic about dance music. Is that right?

DS: No. I hate all that ‘boom boom’ stuff, it just sounds too repetitive and seems to lack the character of live bands. Where are the vocals and stuff?

Eh?! Er.. right. Why can’t they write proper songs, eh? …

DS: Haha, no sorry, tongue in cheek comments aside, I have always loved dance music and not just the hardhouse side of things. I don't like to limit my listening to just this though. Music has been a big factor in me from an early age. I think it is good how dance music has found its way into the mainstream and even into many live acts too.

You're one of the few famous hardhouse names I've actually seen dancing. Why do you think that most DJs don't dance?

DS: I always try to pretend to be a punter when I am not behind the decks. Not sure really, why DJs don’t dance - maybe they feel too conspicuous.

What music do you listen to at home?

DS: I listen to loads of different stuff. My boys are in to the Black Eyed Peas and bits like that. We also love bands like Primal Scream and the Stone Roses, the list is endless.

I don't tend to take hardhouse or banging dance music in to the house as I am in the studio most days. I also don't listen to it in the car unless it is real old school rave stuff.

Ok, let’s talk about current trends in the hardhouse scene. I was interested in your recent comment in a DSI interview feature for ‘Rave On’ in Leeds:

Can you say what you mean about ‘gabba’ style in 'hard dance', and how it used to be more influenced techno and breaks?

DS: I grew up on the rave scene so will always prefer that sound. Everyone will have a sound that first got them into dance music. Rave is what did it for me.

I am not so in to the hard dance that takes its sound from euro hardstyle
areas.

I love breaks too. So for me, I would like to see hardhouse come back down to a slower tempo whilst still being able to be really tuff as well. Old school tracks from producers such as Frank De Wulf and Joey Beltram are a good example. Early Metropolitan Records releases, Sourmash, Mrs Woods, Mark NRG. The fact that the tempo is slower instantly means that elements from house and breaks can be included in the sound.

Interesting… The availability of software has made it easier for more and more people to try their hands at engineering and producing their own tracks. What do you think of this trend?

DS: I think it's great how more people can try their hand at producing a track. There are some really talented people coming through the scene all the time. There are loads.

And who do you rate among the newer ‘young’ producers/engineers in the scene? For example, Dave Owens and Frank Farrell are widely cited as the best new studio wizards.

DS: Both Dave Owens and Frank Farrell are good at what they do and deserve to be where they are.

Ok, let’s talk about your forthcoming Hard South set. What kind of stuff will you be playing? Any classics from your absurdly voluminous back-catalogue? Or mostly your new output?

DS: It will all depend on how the night goes. I'm sure I will be asked to play a few classics when I get there, so will make sure I have a good selection to choose from. It also depends on what sort of crowd is there. There will definitely be a mixture of new gems and classics though.

And will you play other people's tracks in your set?

DS: When I get the chance to, I play a selection of stuff, both mine and any particular favourites from other artists. If it works in the set at the time, then definitely. I do, however, play loads of my own new material that is either just finished or that needs testing on a rig. It's amazing to see people go mental to something you have just finished.

And so how much planning goes into your DJ sets?

DS: I'll have a general idea of the set beforehand sometimes but only to the degree that I will earmark certain tracks that I definitely want to play at some point. Where in the set I play them is another thing. I prefer to wing it and make it up as I go along.

Ok, Dom, thanks! See you on the dancefloor ;o)

Other Dom projects and aliases include:
El Durangoz - techno
Dominguez Funk - electro and house
Freeflow45 - breaks
Jaffa Ramakin - ‘mid paced hard house that has a cheeky, fun vibe’. (courtesy of Ru Courthoys interview with Dom Sweeten for tidy.com, Jan 2010)
Note: This list is not exhaustive!!

Links

For all details, including samples of all tracks from all Dom’s labels, go to his studio home page: 404studio.com
DSI group: Spinball & Kaktai
Facebook page: facebook.com
Myspace: myspace.com
Discogs for discography: discogs.com