Oliver Yorke – Kali
Kidd – Magdalena
Los – Point Em Out
Mala – Changes (iyer Remix)
iyer – The Tamil Footwork Anthem
iyer – Syncopate
iyer – Chikku Bukku Railroad
Hesk & Iyer – Frontin
Ungerade – Need U
Musical Mob – Pulse X (Anna Morgan Remix)
Subwave – Deadhead
Subwave – Us
The Untouchables – Scars
iyer – Barebones
Mark System – El Sunrise
Kiat & Diphasic – Dubsmash
Data – Passive Aggressive (Stray Remix)
Jahlil Beats – Jackpot
Podcast: Download (Duration: 41:03 — 94.4MB) Subscribe: Apple Podcasts | Google Podcasts | Deezer | RSS
Podcast: Download (Duration: 41:03 — 94.4MB)
Subscribe: Apple Podcasts | Google Podcasts | Deezer | RSS
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In the scope of fusion music, there is the art of merging genres and then there is iyer. Head of Phyla Digital records, our latest anniversary session emerges from the San Francisco based artist, whose sonic library ranges and fuses from oriental textures to the uptempo morals of electronic.
iyer also shares with us about what contributed to cultivate his passion for sounds and about his label, which impacted perspectives on music across countries. Tune in!
Where and How was this mix recorded?
I did this mix in San Francisco, early November 2016, on my friend’s Pioneer XDJ-RX.
How would you describe it to us?
This mix is a good representation of the variety of uptempo music I play. It features artists from all around the world, as well as some of my own music – which I don’t usually play in my mixes. I did it all in one take, which I usually do to capture the energy that goes into sets I play live, while playing the tracks that aren’t always dancefloor-friendly. It’s also a showcase of some of the tracks I’ve made that I’m most proud of.
What is your relationship with the footwork genre?
It’s a really simple relationship – I make tracks, I play other producers’ music a lot. I’m unabashedly inspired by the original sound of juke and footwork from Chicago. I have my own take on it with the Tamil sounds and jungle music influence, but I try to be as respectful of the originators and historians of the sound. The music has to be made for dancers as much as it is made for listeners, and that’s the balance I’m trying to get right. I didn’t even realise I had been listening to footwork music much before I figured out the official name.
What record first got you into it?
I can’t remember very well. My first exposure to it might’ve been Space Juke by Rashad and Spinn. Classic.
Your set is made up of tunes which many of em’ are your own massive crafts, since when are you into production? like what came first, the music making or mixing?
I started DJing in Singapore when I was in National Service, and I used to DJ only drum and bass music. Music production was before that, funnily enough, if you can call it production – I was making horrible music on Acid Pro with my close friend and classmate, Krisztian, in India. I’ve been doing production for about 8 years now, and it’s been fun, but I’m struggling to find time to do it as I get busier and busier.
You’re head of the Phyla Digital Records, well how does that goes for you?
I love it – it’s been a difficult but fantastic four years of releasing quality music from people who have been gracious enough to bless us with it. I think the future has great potential and we’ve seriously changed the way people see music in Singapore and in South East Asia. I’ve run into people at parties in the US who know about what Phyla does, and it comes from the focus we have on the local scene, and our attempts to nurture as much talent as we can. It’s hard that I’m away from my co-founder (Harv) but we do what we can and make things work, and that’s what’s important.
What does 2018 can expect from iyer?
I’m wrapping up a new EP. There will be other things on Forbidden Trax that’ll come through as well. I’m planning to take some time off and focus on music during the year, and I hope it’s a productive and cathartic period.