{"id":22415,"date":"2013-08-21T10:09:43","date_gmt":"2013-08-21T10:09:43","guid":{"rendered":"http:\/\/www.wonderlandmagazine.com\/?p=22415"},"modified":"2013-08-21T11:01:35","modified_gmt":"2013-08-21T11:01:35","slug":"listen-exclusive-drums-of-death-mix","status":"publish","type":"post","link":"https:\/\/www.wonderlandmagazine.com\/2013\/08\/21\/listen-exclusive-drums-of-death-mix\/","title":{"rendered":"Listen:  Exclusive Drums of Death mix"},"content":{"rendered":"<p><a href=\"\/tag\/drums-of-death\">Drums of Death<\/a> makes electronic music for bodily movement. The Oban native gifts us a 50-minute <a href=\"\/tag\/mix\/\">mix<\/a> to get those muscles working and talks creative growth, dropping the face paint and working with Yasmin.<\/p>\n<p><!--more--><\/p>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone size-full wp-image-22416\" alt=\"Drums of Death\" src=\"\/\/media.wonderlandmagazine.com\/uploads\/2013\/08\/Drums-of-Death-e1377014309372.jpg\" \/><\/p>\n<p><iframe src=\"https:\/\/w.soundcloud.com\/player\/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F106318116\" width=\"100%\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<p>There\u2019s remote, and then there\u2019s the sleepy fishing village of Oban in North West Scotland, not exactly the first place that springs to mind when you think of rich, textured house. One man working single-handedly to change that however is Argyll local Colin Bailey, better known by his slightly spooky moniker <a href=\"\/tag\/drums-of-death\">Drums of Death<\/a>. Releasing his first full length album in 2010 \u2013 as well as a string of top notch EPs on <a href=\"\/tag\/greco-roman\/\">Greco-Roman<\/a> and Civil Music \u2013 Bailey has worked with the likes of <a href=\"\/tag\/azealia-banks\">Azealia Banks<\/a>, <a href=\"\/tag\/peaches\/\">Peaches<\/a> and <a href=\"\/tag\/yasmin\/\">Yasmin<\/a> to produce a hefty catalogue of lush electronic tracks. We caught up with the man himself to find out more about how it all began, why voodoo face-paint is no longer his thing, and who we should be keeping an eye on over the coming months.<\/p>\n<p><strong>How did it all begin? <\/strong><\/p>\n<p>I first started buying Jockey Slut about 10 years ago and even though I was living somewhere so remote I kept hearing about all of these amazing things that were going on in Glasgow. After a while I decided to take the plunge, up sticks and move there.<\/p>\n<p>I began singing and playing bass guitar for a myriad of pretty terrible bands, and then I got involved with film working as a video editor for a while, but eventually I realised that if I was going to make something happen, I\u2019d need to specialise rather than having a go at a bit of everything.<\/p>\n<p>Something about electronic music really hit me and that\u2019s what eventually led me to London in early 2007. I sort of developed Drums of Death as an expression of everything I learned in Glasgow mixed with all of the new music I was being introduced to in London.<\/p>\n<p><strong>How do you think your music has changed over the years?<\/strong><\/p>\n<p>I first began producing mixes for the likes of Franz Ferdinand, Offshore and Tricky but I\u2019d forget to add in proper intros and outros. Pretty quickly you learn that you can\u2019t really make music in isolation like that, it has to come hand in hand with DJing, otherwise you end up forgetting that some poor bastard has to work your crazy track into his or her set.<\/p>\n<p>Once I\u2019d mastered the basics I was free to concentrate on honing my style and ended up producing quite a lot of melodic stuff working with a lot of really talented vocalists. From there it was a pretty natural step towards thinking more about collaborations and who I could and would want to work with to produce something as a pair.<\/p>\n<p>My first album definitely taught me what not to do, and now I feel like this new release is giving me a chance to dig down and find out what it is I want my sound to be. House music is great, but you need to make sure it feels alive, you can\u2019t just have a bunch of loops and leave it at that. I want my tracks to feel like warm and multi-layered.<\/p>\n<p><strong>Do you think you\u2019ve learnt a lot from the rest of the creative community?<\/strong><\/p>\n<p>I don\u2019t really feel like being around creative people does much, I think it\u2019s much more important to surround yourself with friends and family, because everyone has an opinion on music so it\u2019s just as productive to get their feedback as it is to get comments from other artists. Sure you make some great, immensely talented friends along the way, but you don\u2019t need to surround yourself with music people if you care about the music itself.<\/p>\n<p><strong>What\u2019s with the face paint? Where has it gone?<\/strong><\/p>\n<p>I supposed I used to use the face paint as a way of standing out from the crowd \u2013 to make myself feel different. I wanted to define myself as separate from the dance scene then, but now there\u2019s so much good dance, house and techno out there I feel a lot more comfortable blending in. I don\u2019t need to take a stance against anything anymore, because there is so much great stuff being produced at the moment. It\u2019s a personal evolution, I feel more at home in this modern sound, and I feel it\u2019s helped me evolve as an artist.<\/p>\n<p><strong>How did you start working with <a href=\"\/tag\/yasmin\/\">Yasmin<\/a>?<\/strong><\/p>\n<p>I actually met her at my signing at EMI and we clicked immediately. Yasmin\u2019s great, she\u2019s like my little sister, she\u2019ll come round to my house and we\u2019ll sit listening to music for a while before cracking on with new material. We&#8217;ll write a vocal line and she just makes it beautiful. I used to work on my own, so it\u2019s great to spend time working with such a talented artist.<\/p>\n<p><strong>Who should we be watching closely?<\/strong><\/p>\n<p>Ha, there are so many! Ok so, you\u2019ve got Tanka from Winchester with his take on Dirtybird-esque house, he\u2019s only 21 but is making music which has the maturity of someone twice his age. Scntst from Munich, makes fucking awesome techno, it\u2019s really funky and there are some solid old school hip-hop and Detroit house influences in there. Ryan Ashley is a great vocalist who I\u2019ve been working with a fair bit recently, he&#8217;s very young but a promising new artist on PMR, the same label as Disclosure, Jessie Ware etc. Auntie Flo &amp; Esa are african house artists from Glasgow and Capetown who\u2019ve newly moved to London. Martyn who\u2019s originally from Eindhoven, but now lives in D.C., makes magically unique blends of house, techno and DnB. Really quite something. Finally, there&#8217;s Kink from Bulgaria who&#8217;s live set is one of the best dance music shows at the moment. Stripped-back, machine-made, taut grooves \u2013 anything those guys release I\u2019ll buy straight away, no question.<\/p>\n<p><strong>What\u2019s next?<\/strong><\/p>\n<p>I\u2019ve got some more stuff in the pipeline with <a href=\"\/tag\/yasmin\/\">Yasmin<\/a>, and I\u2019ve started writing a few bits for her upcoming album. I\u2019ll keep releasing singles with Black Butter, but I\u2019m also hoping to get a bit more involved with the video side of things, I\u2019d like to put together a few storyboards and have a go at editing it once it\u2019s been shot.<\/p>\n<p><strong>TRACKLIST<\/strong><br \/>\n<strong>Drums Of Death<\/strong> &#8211; True<br \/>\n<strong>Detroit Swindle<\/strong> &#8211; The Break Up<br \/>\n<strong>Yousef<\/strong> &#8211; Beg (Hot Since 82 Future Mix)<br \/>\n<strong>House Rules<\/strong> &#8211; Hyena (Original Mix)<br \/>\n<strong>Bob Sinclar<\/strong> &#8211; Sea Lion Woman (Original Mix)<br \/>\n<strong>D-Unity<\/strong> &#8211; Sax Me Up (D-Unity&#8217;s Crazy Sax Mix)<br \/>\n<strong>Taras Van De Voorde<\/strong> &#8211; 1998 (Deetron Mix)<br \/>\n<strong>Robert Owens<\/strong> &#8211; I&#8217;ll Be Your Friend (Inxec &amp; Matt Tolfrey&#8217;s Falling Down Mix)<br \/>\n<strong>Kink &amp; Catz &#8216;n Dogz<\/strong> &#8211; Bad Love<br \/>\n<strong>Tori Amos<\/strong> &#8211; Professional Widow (Armand&#8217;s Star Trunk Funkin&#8217;)<br \/>\n<strong>Francis Preve &amp; Wolfgang Gartner<\/strong> &#8211; Yin (Original Club Mix)<br \/>\n<strong>Maya Jane Coles<\/strong> &#8211; No Sympathy<\/p>\n<p><em><strong><a href=\"\/tag\/mix\/\">Liked this mix? Listen to our other exclusive mixes here.<\/a><\/strong><\/em><\/p>\n<p>Words: Thomas Curry<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Drums of Death makes electronic music for bodily movement. The Oban native gifts us a 50-minute mix to get those muscles working and talks creative growth, dropping the face paint and working with Yasmin.<\/p>\n","protected":false},"author":4,"featured_media":22440,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9419],"tags":[4831,2250,2335,3578],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Listen: Exclusive Drums of Death mix | Wonderland<\/title>\n<meta name=\"description\" content=\"Listen: Exclusive Drums of Death mix.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.wonderlandmagazine.com\/2013\/08\/21\/listen-exclusive-drums-of-death-mix\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" 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