Video production studio Pomp&Clout adapts the new mix from Jackmaster for an exclusive high-energy audio-visual experience for Dazed
Faultless beat-matching and eclectic visuals come together in an exclusive Audio/Visual mix from Jackmaster and Pomp&Clout for Dazed Digital. Two men at the top of their game, from opposite sides of the Atlantic work our sense of nostalgia for idealised places, times and states of mind. In an outing across LA beaches, digital mine fields, fitness classes and Peruvian jungles we see the beauty of nature and the madness of mankind via a heady bass and treble soundtrack.
Jackmaster’s sets swing your mood from sex driven Splack Pack tracks to melancholic AFX. A Glasgow kiss from the Numbers boss that’ll bring it back up, and sweet nothings of ambient electronica that’ll break it back down. 2010 saw Jack Revill win DJ Magazine’s Breakthrough award, and this month sees the release of his debut Fabric live compilation. No doubt the forecast for 2011 is stronger than ever but without fail this track selection is about taking you back to the future of 1980s and 1990s warehouse raves, the sweat of an inner city Detroit nightclub.
Dazed Digital: A Fabric mix is one of those big moments for DJs, looking back do you think your sets have changed a lot, and were you ever turntabalist?
Jackmaster: Yeah my sets have changed so much from when I was a kid. If the 16 year old Jackmaster could see me now then he’d probably be disgusted at his future self [laughs]. I never did turntablism because I was more of a House and Techno kid, more interested in long, super tight and subtle blends. One thing I’d really love to be able to do is scratch and juggle a little bit just to switch up tempos a little easier. Like if you watch Hud Mo DJ, he’s really good at that. It annoys me how good he is actually.
DD: Everyone talks about the sense of nostalgia they get from your sound; is there another time and place you wish you’d lived in?
Jackmaster: I wish I was around in the early 80s to go to The Music Box or Paradise Garage. Those sounded like truly magical times and surely run by some of the best DJs of all time.
DD: You’ve previously said Night Slugs are the label to watch out for but there wasn’t any in the mix, is there a new sound to look out for?
Jackmaster: I was on the money with that one eh? [laughs]. Actually I’m far more interested in the old rather than the new at the moment. If no one bothered to ever release another record there’d still be far too much amazing music out there to even come close to discovering it all. That’s very exciting for me. This year just watch out for Blawan I reckon. Although he’s not really “new” to anyone who’s been paying attention, that guy is gonna own 2011. A label that’s really slept on I think is the UK Funky label called Soul Serious. I put one of their tracks in the mix. It’s by Jook 10 and titled “Emotions”. His stuff is really cool.
Pomp&Clout takes vintage analogue video production equipment into the 21st century. Before originally moving to San Francisco to start a job at Apple the RISD graduate threw parties for a night called Lovelife. The visuals for the night got picked up by none other than Diplo and soon he was co-directing Robyn’s ‘Dancehall Queen’ video with Red Foxx and producing the high flying, action packed, illustration based visuals for the Major Lazer tour. With his own mix series and a recent award for The Suzan’s kaleidoscopic video ‘Home’ Pomp&Clout speaks to Dazed about moving into the interactive video arena and Hip-Hop honeys.
DD: your Boys Noize and Rusko videos have these arcane analogue effects…
Pomp&Clout: Yeah I'm oddly drawn to glitchy VHS and analogue stuff. There's definite warmth to it, and feeling of imprecision that can sometimes be the ideal shitty, warped veneer to put over some crisp motion graphics or HD footage.
I do all of those effects 100% with analogue equipment, I hate the look of analogue mimic filters like Bad TV. It's definitely a pain to hold onto all of this equipment, and every time I use it I swear to myself it's the last time, but I'm always happy with the end result and come back for more. It's probably some weird deep seeded connection to watching scrambled porn on cable, as we all did as kids.
DD: everyday MTV’s got a new video packed out with Hip-Hop honeys, ever tempted to sell out and do a booty vid?
Pomp&Clout: Oh hell yeah, I'd jump at the chance. There's a clever way to do it, kind of like Chris Cunningham's Windowlicker video even though it isn't a hip hop track or maybe take it fully cinematic like Biggie's Hypnotize video. I'm mainly looking to do videos that have a cohesive visual feeling to them, whether it's narrative or not, just an idea or look that I've been itching to scratch and experiment with, then move onto the next weird idea. That's just as relevant in booty & cars & guns videos if done right.
DD: Do you think there’s going to be more experimentation with audio and visual?
Pomp&Clout: I think there's definitely room for crazy exploration as far as visuals for large scale performance like Major Lazer, Daft Punk and even Lady Gaga... I also think the growing world of interactive music videos is going to be where real-time tools really get their most interesting use. As far as a VJ playing live in a small club during a DJ set... I'm pretty bored with that, it can actually detract from the music. A dark, foggy room with minimal lights is currently my favourite club environment.