We speak to the label-heads of the electronic imprint home to the likes of xxxy and Julio Bashmore about their forthcoming releases
Run by the duo of Doc Daneeka and Ian Yeti, Ten Thousand Yen is the UK-based record label acting as home to the former's stunning new EP featuring the vocals of Abigail Wyles out this March 26, as remixed by Hotflush/Rush Hour's Lando Kal. Having released the likes of Julio Bashmore, xxxy, C.R.S.T., and soon Mickey Pearce, the label has established itself as a platform for truly talented up and coming electronic producers.
I think we’re starting the label at a great time for music – there’s so much melting pot action going on, naturally sounds are coming out that are different but with common elements of bass or layered percussion
Dazed Digital: As they've been quite diverse, how do you find and/or pick your artists? / Is there something in common that runs through all your signings or a sound you’re looking for?
Doc Daneeka: I dunno - we both grew up listening to so much different stuff and generally sitting in cars getting lean and playing each other tunes that I think we naturally have a feeling for our common ground in taste - to me they don't sound that different. I think they all sound like Ten Thousand Yen records.
Ian Yeti: Yeah, it usually either “sounds like TTY”, or it doesn’t.
I think we’re benefitting from starting the label at a great time for music – there’s so much melting pot action going on, naturally sounds are coming out that are different but with common elements of bass or layered percussion.
DD: How do you feel the sound of the label has changed or progressed over time?
Ian Yeti: Personally it doesn’t feel like we’ve altered our sound that much at all, but we aren’t afraid of an “out there” tune or two like the Watkin’s Screamers 7” or this Tobyjug release, but both of those releases still have all the elements that make them feel at home with us.
Doc Daneeka: I agree, I don't really think it has changed that much, but I suppose to the outside world maybe it has. It's just the music we like at the moment that we feel will last the test of time.
DD: Is this in line with your own productions?
Doc Daneeka: I suppose, I mean if we stayed doing the same thing it would just bore me. The same goes for production, it's nice to throw curveballs out there. For me writing music is just what you want to be in at that time. It's a passion - not a job - you know? The music always feels like me - but the format can sometimes be slightly different. If I’m in it - I want to show other people and hopefully they are in it with me - I think the same goes for the label.
DD: Why did you start Ten Thousand Yen?
Doc Daneeka: We were just sitting on so much good music that wasn't coming out and it just seemed the logical thing to do - we'd talked about it since we were kids - but never really thought seriously about it.
Ian Yeti: Yeah, there hit a point where we had to stop talking about it and just do it. Timing-wise it all fell into place really well. At the time Deeper by Venom & Damage was getting a great reaction in the clubs with Modeselektor supporting it, we loved the tune and were old friends with Benjamin Damage, so it became a natural first release.
DD: What's the story behind the name?
Doc Daneeka: Ha - well it was cemented driving a 3-wheeled rickshaw from Nepal to the South of India in january 2010. I have no idea exactly how, but it came up somehow whilst we were narrowly escaping death. I dunno - do you remember Ian?
Ian Yeti: I had a dream where an octopus was strangling me to death with all eight tentacles and it wouldn’t let me go until I paid him the Ten Thousand Yen I owed him from a card game. After that it just kinda stuck.
DD: What are you listening in your own time now?
Ian Yeti: I’m pretty hyped for our next release – Mickey Pearce, so his tracks have on heavy rotation with me. The forthcoming Untold stuff on Hemlock sounds like fire too & I still can’t get enough of the Ghost Mutt release from a while back on Donkey Pitch, plus tons of early 90s jungle!
Doc Daneeka: I've been obsessed with the Kuedo album also the April March & Los Cincos - and loads of house music I suppose...