Not long after he landed a record deal with the well reputed Guidance label in Chicago. First out was the "Laidback Grooves EP" with its mix of deephouse and broken beats and since then he has released three further twelve inches on the label. Martinez also did some wonderful remixes for the Physics duo on the same label. Especially his "Aquarium Jazz Dub Mix" on "Don't Deny Me Love" was a favourite with clubbers, DJs, and reviewers around the world.
Martinez is also a label owner. Out of Orbit Recordings saw a few good releases from Trentemoller, Nima Gorji, Felix Houzer, Dibaba, Lowtek Soundsystem, Martinez and others. Martinez has also had two tracks signed to the well reputed Get Physical label out of Berlin and Steve Bug's Audiomatique ("Shadowboxing") and recently he released his first mix compilation on Out Of Orbit, called Restructured Layers.
At the moment Martinez is touring worlwide, he produces electronic music. His brand new compilation was described as a "megamix of our musical cata¬logue, for all you people out there who have been looking for a way to enjoy our music in a comfortable way without getting into vinyl".
Martinez: I really don't know what to expect to be honest, but hopefully people will like and so on. Since it's the first CD on the label it's really exiting to see how it goes.
Beat Factor: In the terms of technology, this mix CD is considered close just to Richie Hawtin's DE9 record. Can you exactly tell us what gear did you use and how long it took you to complete this mix?
Martinez: I mostly used Ableton Live for this mix, but also some sound editing programs. The mix was almost a 4 month project where it started out with finding useful and interesting loops from all the tracks. Then I spent a lot of time on finding tracks that work together, for example in key or where the chords of one track works with the bass from another. Like in the last part of the CD there is Phil Stumpf – Borderline and Willie Graff – Synergetic running together from start to end like one song without any editing of the individual tracks. It was a bit like doing a puzzle but once I found a place for all the pieces the mix came pretty fast and natural.
Beat Factor: Every DJ releases a mix compilation these days. In your opinion, what secret a DJ must know in order to break the typical borders with his mix?
Martinez: For me there are two kinds of DJing. There is the DJ mix that is focused on really strong and unknown/special tracks and is mixed with a good flow. In this case I think it's very important that the DJ puts the energy in the selection of the music. Then you have another kind of DJ-mixing that is to modify the music and songs you play to reach another level or bring out something different from already existing composition. The later one is very interesting to listen to since it sort of confuse the audience and also since you might recognize some parts of a song but not really place it etc. In this case its really important that its done well and parts are used creatively, otherwise it can really just end up in a big mess! But to break the typical borders with a DJ mix I definitely think its important to make something special, like Richie Hawtin always done with his DE9 records and also I remember Tom Middleton´s set which sometimes where out of this world with his sets from down tempo to drum n bass to tech-house to electro and a lot of key-mixing and different tempos but still flawless mixing, this is the kind of DJ mixes that for me pushes the Djing to the next level and makes it really interesting to listen to.
Beat Factor: Where did you get the inspiration when you have chosen the tracks from the compilation?
Martinez: All the music on the CD is from my label Out of Orbit Recordings back catalogue. The tracks were mainly chosen because of sound/loops or other parts from them I could use for the mix. In some songs I heard the an intro sound and thought that it would be great with that sound running over the beats and bass from two other tracks. This was the way I got inspiration for which tracks to use.
Beat Factor: Do you see any connection between your music and visuals? Did you ever worked with specialized VJs when touring?
Martinez: Not yet no... but I have definitely had it in my mind for a long time. Sure I often see a strong connection with visuals for my music.
Beat Factor: How hard is to be a record label owner?
Martinez: It's pretty easy at the level where I am. It's not like I run a major record label
Beat Factor: What's cooking at Out of Orbit at the moment?
Martinez: At the moment we some really exiting new 12inch singles for the next few month, tracks and remixes from Minilogue, Each, Phil Stumpf, Rui da Silva and Martinez. I am also planning to release a remix collection/album with all of my remix works for next year sometime. It would include old favorites as well as some unreleased exclusive remixes from me.
Beat Factor: How actually did you get in touch with Steve Bug?
Martinez: I sent a demo some years ago to his label Dessous and he liked it and called me up and asked if I had a third track for the single. I played him two tracks over then phone which he liked the sound of. Then I emailed him an MP3 and he choose one and that became Martinez – Skywalker EP and since then I released a few tracks on his labels.
- [a:rpia:r] - A successful story
- Simian Mobile Disco - New Future Electro Disco Heroes
- Luciano: I'm Still the Same Guy
- The Model - A Special Man With Special Needs
- Me and You is M.A.N.D.Y.
- Carl Craig: I'm Not A Fortune Teller!
- Audio: In Between with Paul Van Dyk
- Audio: Steve Bug - 'I Don't Make Music for Bugs!'
- Ricardo Villalobos - from South America with love
- Lee Burridge: Balance, drugs and Tyrant
- Audio: Ricky Stone, a busy combination
- Hook N Sling - a Fat Australian Export
- Break-Beat lessons with Krafty Kuts
- Ewan Pearson, the lucky guy
- The other side of Ellen Allien
November 9, 2006 at 2:15 PM CET
Martinez: None really, I don't think that anything in my music is Swedish or Danish, in case it is it would be more Danish since I made almost all released music in Denmark. I take more inspiration from music I hear, equipment that I work with, sunshine and people around me.
Beat Factor: Do you still buy music, or you're satisfied with the promos you receive? How much time do you spend listening to dance music?
Martinez: Oh yeah, I buy at least 20-30 records a month... I spend most of my time listening to dance music, considering all the DJ gigs etc.
Beat Factor: Please name some non-dance artists that you'd like to remix.
Martinez: The Cure would be absolutely amazing to remix! Also Bjork since I love her voice.
Beat Factor: The musical tastes are changing from time to time and people become trustless when they read not really good things about a DJ. How would you solve this problem if people will start to get bored of your music?
Martinez: Well, if people get bored of my music there is not much I can do. I make music the way I like it to sound and because it inspires me, if people like it, its just a great bonus most important is that I like it! But I guess that it's important to always keep challenging and develop yourself as a producer, this is one thing that make people keep there interest in your music. Trying new things and also often you as a person you change all the time and so will your music, hopefully that keeps it fresh and new thinking.
Beat Factor: Do you think techno music is adequate to the Formula 1 drivers? Or they rather prefer a drum'n'bass?
Martinez: I think some funky minimal techno grooves could be cool for driving Formula 1, but I don't know to be honest, I think d n b would be too much when you drive that car wouldn't it?
Beat Factor: Can you recommend so far a recent book you have read?
Martinez: Sorry, I haven't read that much lately so I can't really answer that question...
Beat Factor: Let's get back to music. Do you think that don't exist DJs without being producers too and producers without being DJs too? I mean, what sort of connection there is between making music and spinning records?
Martinez: I think that there is many people that just DJ or just produce. But what happened is that people who spin music really well often have a natural feeling for how dance music should sound and so they like to produce there own music and the people who produce big dance records find it easier to get DJ gigs and travel around to promote their sound so they often start DJ-ing. I guess that is why almost every DJ is a producer or every producer a DJ nowadays.
Beat Factor:Assuming some of your colleagues from high-school are reading this interview (yes, this is Martin Swanstein born in 1981!), what would you like to say to them?
Martinez: Hope your all well and thanks for some great years in high-school!!!