Alex M.O.R.P.H interview

Ahead of his appearance at O2 Academy Leeds this weekend for DS and Goodgreef, the German DJ spoke to Skiddle about M.O.R.P.H.ing tracks, and how the weather can affect your work.

Jayne Robinson

Date published: 2nd Oct 2012

Germany’s Alex M.O.R.P.H belongs to the global dance scene, and as a trance producer and remix mega-mind his talent takes him way beyond the borders of his Deustchland home. At the studio he is in his element creating tracks with all the right ‘M.O.R.P.H. ingredients’, and yet he quite readily embraces the work of his musical comrades. Like a well-trained magician, Alex M.O.R.P.H can take a very dissimilar song and turn it into something that his own audience can embrace. Think back to that last remix of a rock song - the one that turned into a dance-floor hit before quite quickly placing itself on high rotation on some of the country’s most acclaimed radio stations. Such is the skill of the dance music magicians. But not every track is “M.O.R.P.H.able”.

Alex M.O.R.P.H shares the world of the remix ahead of his Digital Society & Goodgreef show with Paul Van Dyk.

You started handing out mix tapes at the age of 13, and you’ve been noted as saying that these days - with the ease of Internet and availability of technology - kids have it pretty easy. Do you really believe it’s easier for aspiring artists today then it was 20 years ago? Isn’t there more competition now?
It is, the market and the Internet is flooded with music by everyone. It's harder to reach the current quality standards in terms of production, but once you're there, it's a lot easier to get in contact with artists and labels, there's no doubt. The hardest part is to attract attention of the right people at the right time.

You’ve done a lot of remixes for an endless list of artists. What attracts you to the remix form?
It's the challenge to take the original material and put it in a different robe, and add some more power or deepness to a track. Nowadays it’s also started to turn around a bit. Producers and their labels want to have an Alex M.O.R.P.H. remix of their track because they like my previous work so much. Our inbox is full of remix requests, but I cannot do them all. (Laughs).

Three things you look for when considering a song to remix?
Sometimes it's the vocals, sometimes it's the main theme and sometimes it's just the idea to put more energy and atmosphere to it. When I hear the original, I have to like it right away and sometimes I instantly have ideas on how the track would sound with some M.O.R.P.H. ingredients. But not every track is M.O.R.P.H.able.

Do you think the cross-pollination aspect of remixes helps increase your fanbase? For example an artist who you remix may come from another genre and in turn this collaboration exposes you to a new set of ears and music lovers.
This might be the case sometimes, but usually it's the other way round. Let's say a rock band wants more exposure on the market, and they want to reach the people in the electronic scene (yep, that IS a big market!). So, in this case they ask me to remix their song and get all the big DJs to play it with big impact, allowing them to reach many more new people who then get interested in their music. Though I don't think their fans will start listening to electronic music, they will most probably stick to the original songs. I really think that EDM lovers are more open to other genres than those who are still just complaining about "techno". Sure, not all of them, but a big amount. It is not the easiest thing on earth to introduce a rocker or hip hopper to Trance. (Laughs).

How important is the environment to your writing and recording process?
Even more important than the environment is the mood. You have to feel good, otherwise you cannot be creative and focus on it. I think everyone knows this. Sometimes you have a day without energy and ideas and so there’s no concentration. One day later after a good sleep, your mood is better and it affects your creativity... in the same environment. The weather can also play an important role, sometimes in a positive, sometimes in a negative way.

In 1996 you released your debut ‘Paysages’. What’s one piece of advice you’d give the ‘you just starting out’?
It's always difficult to give specific advice because it's such a complex field. The best advice I can give is to be patient and not give up too fast. It all takes many years until you reach certain standards. Keep trying and you will succeed!

Where are you based now and where in the world would you uproot to in order to further progress your sound and technique?
My home is Germany, and I don't plan to have another base. Let's say I would change my mind some day and I'd definitely settle down in XXXXX… (Laughs).

In terms of the music you play, do you organise the set-list prior or do you prefer to read the crowd?
Both. Of course I roughly prepare the records that might be interesting for a night. I think about what I could play and what not. I cannot play everything everywhere; there can be big differences depending on the country, club and audience. So I think about it and do a pre-selection, and the rest is up to the crowd and to the energy. Sometimes I end up playing tracks that I would never imagine to play that night. And sometimes I plan to play X or Y but then I don't play it because the situation is not right. You never know what happens!

Is the digital realm an important part of Alex M.O.R.P.H.? Are you involved in the social media element of being a DJ and producer? Is it important in this digital age?
Of course it is. I'm in there as well, although I'm not using it as intense as other artists do. But you have to do it, you have to be on top of things and the people have to see your name on the screen, every day. If you don't do it, they will forget you faster than you can imagine. It's kind of scary, but it's also fun to have the direct contact with the fans and let them know what you are up to. If you find a healthy balance and the people stay respectful, it's all good.

How important is collaboration in your work?
It's very important. Working with other people makes it all much more dynamic and keeps the ideas fresh. It's amazing to see or hear the result of a collaboration and witness the fusion of all those different elements that come together. It's such an interesting process.

How important is competition? Why?
Depends on which kind of competition you mean. If you mean the "Look, I'm so much better than you because I'm higher on Beatport and DJ Mag" kind of competition: it's not important. Nobody needs that. Competition is a part of every business, but I don't focus on that. I do my thing and don't aim in competing with anyone. For me it's about music and emotion.

Last song you listened to?
A new one of mine, let's call it ID. (Laughs).

What’s up next?
Studio, planes, hotels, clubs. LOVE IT.

Interview: Jasmine Phull

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