Damian Bennett: Hi Mr Hamilton.
Your sound is f*cking killer.
DB: You’ve got this monolithic sound and love the choppage… as a producer, what’s the most important thing for you: do you DJ to test out new tunes for eg? What sort of vibe overall do you like to put across?
Hamilton: When I’m djing the most important thing for me is to make sure the crowd is having a good time and on the dancefloor. I like to keep my sets very busy with loads of double drops, quick mixes whilst concentrating on tracks that work well with each other with their keys and vibes. It’s also a fantastic way to test out new tunes, which is a very important part of what we do.
DB: Tell me your story with RAM and how it all came to pass as I believe there’s some history…
H: Ram has been a big influence on me for a long time and I’ve been a fan of the label pretty much from when it started. The tunes were always great and the production was always ahead of its time, particularly in the early years, in comparison to the majority of what else was going on. Funnily enough there’s a picture of me on the back cover of my second release on Kniteforce records from 1994 with me holding a record in front of my face that was taken round my mates house when I was having a mix. The record is Sound Control by Randall and Andy C (below).
DB: That’s amazing, there you are. So give me some background on you. What sort of stuff influenced you?
H: I’ve been in the music game since I left school in 1994 and I started out my career on Kniteforce. After being with them for a few years I then set up my own labels with fellow DJ Brisk called Next Generation & Blatant Beats in 1996 which are still going now. Influence-wise, electronic music has always been my thing to the point where chart music makes me feel ill, unless it’s electronic of course.
Outside dance music I do have a very broad taste, it just has to be good.
DB: Know the feeling. How do you see the music in general progressing? We’ve had so many changes, what sort of shifts do you feel happening? Or is it business as usual and you want to just roll out? (I mean, if it ain’t broke… )
H: I’m loving what’s going on in D&B right now, but I think there is a shift towards a more futuristic sound going on as we speak. Not that D&B doesn’t sound futuristic now of course, just even more so.
DB: Finally a cool answer… so many people just waffle on about that one. Devil’s advocate question: is it a bit blokey at the moment? I mean where’s the new female producers/DJs/performers? Riya aside.
H: Well, dance music production has always been a bit blokey hasn’t it, so I don’t see that’s any different now. It’s not a conspiracy, I just think the decks and the studio tends to attract blokes more than girls. I think it would be nice to see more female producers and DJs.
DB: what sort of stuff is destroying clubs right now re D&B in yr box? Any sneaky tips?
H: There’s loads of great music out there right now, but for me I’m really feeling the output from all the Ram guys and others that immediately spring to mind such as Noisia, Phace, the Playaz and Viper crews. That said, there’s so many good producers in D&B there’s all sorts in my box from across the whole scene.
DB: If you work on an album, will it have a general flow, rather than just be a comp of tunes? How do you feel about that statement?
H: Absolutely! That is my number one priority for my album that’s in the very early stages right now. Easier said than done, but I want it to be something that can be listened to from start to finish that takes you on a journey, mixing up the styles and hopefully people will be feeling it.
DB: Will look forward to that and thank you vvv much sir, can’t wait to get back down to civilization at Fabric sometime and get lost in one of your sets.