Fly­ing High

Infusion Magazine - - LOOKING FORWARD -

Dis­cov­ered by LTJ Bukem, Altitude has be­come one of the most con­sis­tent Drum and Bass pro­duc­ers in the re­gion, and this month has re­leases on two im­por­tant DnB com­pi­la­tions. Along­side that, Altitude – Aka Ali Ta­her – is mak­ing a rare ap­pear­ance be­hind the decks for Bass­worx, open­ing for Utah Jazz on April 24…

Con­grat­u­la­tions on a big month – you’re in­cluded in 2 new re­leases, and open­ing for Utah Jazz. Which are you most ex­cited about? As nice as the DJ gig is, my pas­sion and as­pi­ra­tions lie mostly in pro­duc­tion so I am al­ways most ful­filled by the process of hav­ing mu­sic re­leased.

The Fokuz Source of Life al­bum comes out on seven 12 inch vinyls, that’s a pretty cool thing in this day and age… It is. Although they say vinyl is on the come back, la­bels still find it in­cred­i­bly chal­leng­ing to re­lease mu­sic on this for­mat and I sup­pose it means some brave la­bel bosses are putting their necks on the line for the sake of mu­sic and artists they be­lieve in - some­thing I’m per­son­ally very grate­ful for. As well as the Fokuz al­bum, I am in­cluded on the In­gre­di­ents Records “Sub­stance” al­bum which is also on 3 x 12” and out on the 27th of this month. I sup­pose you could say I’ve had a good wax this month!

You’re first sin­gle got picked up by LTJ Bukem – not a bad start! It was a great start and some­thing quite un­ex­pected that re­ally helped give me an ex­tra push to work a bit harder. Iron­i­cally the first track signed to Good Look­ing Records that got it all started for me never ended up com­ing out but he picked up a cou­ple of other tracks af­ter that that made it onto the “Bukem in Ses­sion” CD and then the most re­cent white la­bel vinyl se­ries be­fore the la­bel went into its sec­ond hia­tus.

A lot of DnB seems to have got pop­pier or deeper in re­cent time, what’s your take on it? And do trends af­fect your out­put? Some­times you have to look a bit harder to find what you want be­cause of what is cur­rently trend­ing, but I like to think there is a healthy rep­re­sen­ta­tion across all the dif­fer­ent stylis­tic ap­proaches to the genre at the mo­ment. I’d like to say trends don’t in­flu­ence me but I’m sure they must do. As a gen­eral rule though, I try to avoid lis­ten­ing to Drum & Bass when I am in a pro­duc­tion cy­cle to try to make sure I re­main fo­cused on my own ideas.

There was a dis­cus­sion on FB re­cently amongst a lot of Djs that in or­der to make it in mu­sic, you need to leave Dubai. Have you ever thought that, you’ve had some big re­leases? There seems to be some suc­cess sto­ries out of Dubai across other elec­tronic gen­res. You can prob­a­bly be based any­where and be­come a prom­i­nent artist these days. Gigs and DJ ap­pear­ances around the world are prob­a­bly only lim­ited by how much time you are will­ing to com­mit to it and how much flex­i­bil­ity you have to travel. I haven’t thought about mov­ing for mu­sic be­cause I cant fore­see a cir­cum­stance where I could com­mit 100% of my time to it

You don’t DJ that of­ten, any rea­son why not? And does that make events like the Bass­worx gig that more spe­cial? I never DJ at home for fun so it’s a case of be­ing gen­er­ally less in­ter­ested in DJing than pro­duc­tion for me. Lo­cally, I get about one or two re­quests a year at most so that’s when I tend to do them.

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