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Plucked from relative obscurity just a few short years ago, thirty-something Egyptian subterranean House purveyor, Dubfunk, is well on his way to becoming one of the bonafide underground stars of the foreseeable future. Sure, he’s a gifted DJ, but it’s the sheer brilliance, depth and emotion of his lush studio works that have seen his name regularly appear in the coveted set-lists and charts of some of the biggest DJs in the world – names like Sasha, Cattaneo, Digweed and Garnier – and continue to catapult him into the EDM stratosphere.
Inspired by the Halcyon Days of late-90s Progressive House, and creatively fuelled by a string of seminal releases (including the early G:U comps and Northern Exposure) that changed his musical outlook and destiny; Dubfunk lovingly crafts tunes from the depth of his soul: every bassline tells a story, each pad strikes an emotion. It’s a rare skill, and it’s one that’s seen him recently exchange his native Cairo, Egypt for the serenity of Geneva, Switzerland … a place more akin to studio sessions, and, importantly, a lot closer to the countless worldwide destinations his performance roster now demands.
100% caught up with Dubfunk as he prepares to visit our shores – a journey which, he says, is the longest one he’s ever had to make …
- What sort of music/musicians did your parents play around the house when you were growing up in Alexandria?
My parents have always been fans of a wide range of music. They mostly played classic oriental music (like Umm Kulthum, for example, who has been - and still is - a major influence for huge artists worldwide), jazz and soul music (lots of Nat King Cole, Ray Charles and Nina Simone, just to mention a few)
- Were you a musical kid? Did you play any instruments?
I’ve always loved music. I can’t say it was pretty much EDM in the beginning, it was mostly rock, jazz and blues that were my interest. When I was eight I started playing piano for a couple of years but then I stopped when I was ten.
- The seminal Northern Exposure and early Global Underground releases were a huge inspiration for you – describe how you felt when you first heard them and explain how you came across them …
I remember picking up my first Northern Exposure Vol. 1 from a friend back in 1999; this was a great experience at that time because the sounds were so far from what I’d been originally listening to, yet it just felt so right and close to me. I still listen to it nowadays in addition to early GU releases i.e. John Digweed’s Sydney, L.A, Hong Kong and Sasha’s San Francisco and Ibiza
- Describe a typical night clubbing in Cairo back in 2001-2002 … was the scene cool? Where did you go, where did you play and who did you go to see play?
From early 1998 till around 2003, the scene in Cairo was pretty much underground in the truest sense of the word. We had Sasha, Seaman, Lawler, Satoshi and others coming over to play, but the events were rarely being completed. There wasn’t much government understanding of what EDM is all about back then – these parties were mostly considered to be illegal gatherings.
At this stage I was playing at what we called House Parties (not as genre but as a location), then I moved into a partnership with a friend to run a big venue in a resort in the Red Sea and we held some decent events out there.
In 2004 I moved to Pacha Sharm El Sheikh and started playing on a weekly basis as a resident DJ, and that’s how it all started …
- How did you get your first ever tune signed? How many tracks had you written at that stage?
My first tune was released on my label, Dyami, in early 2007. The second track “Cruel” got signed to Mashtronic records in Germany. Two months later it was great - it was only my second release and it got great feedback from big names around the world. So far I have got around 11 originals, eight remixes and five compilation mixes released …
- You moved to Geneva, Switzerland in 2005 – of all the places in the world, why did you decide to move there, and, what has it meant to your career?
The decision to move to Geneva was mainly personal/family related in the first place; nevertheless as it’s centred in Europe, it did provide me with mobility to move around easily. It is such a nice city to live in as it’s quiet, which gives me the opportunity to concentrate on my music and studio work.
- In your opinion, what key elements make a good deep, melodic record in 2009?
Inspiration is the main key … being totally into it is what it takes. Deep and melodic production is very different from producing any other style as it really depends on the artist’s personal mood and feelings. I’m totally convinced that people sense what the artist has done and enjoyed doing - rather than just trying to make a copy of a current trend to reach fame.
- You say that you never plan anything before you sit down in the studio to write a track … but where do you begin? Does the bassline come first?
Every tune has its own story. Sometimes it starts with a plain kick, sometimes a rolling bassline, and sometimes it can start with the EFX. “Mandala” is one of the best examples of an extraordinary track evolution - the whole project started with a bell sound and a horn sweep!
- What are you looking forward to most about your pending trip to Australia?
It is my first time to Australia and I’m so excited about it! I’m a bit nervous about the long flight – next to South America it’s my longest journey so far. But the feedback I’m getting about my visit is really great, and so I’m looking forward to it.
- Which producers do you respect the most at the moment, and why?
This is really hard to say, as there are so many great producers out there, and on a weekly basis there are more and more talents emerging. That being said, some names that are regulars in my CD wallet are: Joris Voorn, Guy J, Henry Saiz, Fairmont & Jerome Sydenham … just to name a few
Australian Dates:
10th April 09 - Darkbeat 6th Birthday - Brown Alley - Melbourne
11th Aprl 09 - S.H.A.P.E - Perth
Inspired by the Halcyon Days of late-90s Progressive House, and creatively fuelled by a string of seminal releases (including the early G:U comps and Northern Exposure) that changed his musical outlook and destiny; Dubfunk lovingly crafts tunes from the depth of his soul: every bassline tells a story, each pad strikes an emotion. It’s a rare skill, and it’s one that’s seen him recently exchange his native Cairo, Egypt for the serenity of Geneva, Switzerland … a place more akin to studio sessions, and, importantly, a lot closer to the countless worldwide destinations his performance roster now demands.
100% caught up with Dubfunk as he prepares to visit our shores – a journey which, he says, is the longest one he’s ever had to make …
- What sort of music/musicians did your parents play around the house when you were growing up in Alexandria?
My parents have always been fans of a wide range of music. They mostly played classic oriental music (like Umm Kulthum, for example, who has been - and still is - a major influence for huge artists worldwide), jazz and soul music (lots of Nat King Cole, Ray Charles and Nina Simone, just to mention a few)
- Were you a musical kid? Did you play any instruments?
I’ve always loved music. I can’t say it was pretty much EDM in the beginning, it was mostly rock, jazz and blues that were my interest. When I was eight I started playing piano for a couple of years but then I stopped when I was ten.
- The seminal Northern Exposure and early Global Underground releases were a huge inspiration for you – describe how you felt when you first heard them and explain how you came across them …
I remember picking up my first Northern Exposure Vol. 1 from a friend back in 1999; this was a great experience at that time because the sounds were so far from what I’d been originally listening to, yet it just felt so right and close to me. I still listen to it nowadays in addition to early GU releases i.e. John Digweed’s Sydney, L.A, Hong Kong and Sasha’s San Francisco and Ibiza
- Describe a typical night clubbing in Cairo back in 2001-2002 … was the scene cool? Where did you go, where did you play and who did you go to see play?
From early 1998 till around 2003, the scene in Cairo was pretty much underground in the truest sense of the word. We had Sasha, Seaman, Lawler, Satoshi and others coming over to play, but the events were rarely being completed. There wasn’t much government understanding of what EDM is all about back then – these parties were mostly considered to be illegal gatherings.
At this stage I was playing at what we called House Parties (not as genre but as a location), then I moved into a partnership with a friend to run a big venue in a resort in the Red Sea and we held some decent events out there.
In 2004 I moved to Pacha Sharm El Sheikh and started playing on a weekly basis as a resident DJ, and that’s how it all started …
- How did you get your first ever tune signed? How many tracks had you written at that stage?
My first tune was released on my label, Dyami, in early 2007. The second track “Cruel” got signed to Mashtronic records in Germany. Two months later it was great - it was only my second release and it got great feedback from big names around the world. So far I have got around 11 originals, eight remixes and five compilation mixes released …
- You moved to Geneva, Switzerland in 2005 – of all the places in the world, why did you decide to move there, and, what has it meant to your career?
The decision to move to Geneva was mainly personal/family related in the first place; nevertheless as it’s centred in Europe, it did provide me with mobility to move around easily. It is such a nice city to live in as it’s quiet, which gives me the opportunity to concentrate on my music and studio work.
- In your opinion, what key elements make a good deep, melodic record in 2009?
Inspiration is the main key … being totally into it is what it takes. Deep and melodic production is very different from producing any other style as it really depends on the artist’s personal mood and feelings. I’m totally convinced that people sense what the artist has done and enjoyed doing - rather than just trying to make a copy of a current trend to reach fame.
- You say that you never plan anything before you sit down in the studio to write a track … but where do you begin? Does the bassline come first?
Every tune has its own story. Sometimes it starts with a plain kick, sometimes a rolling bassline, and sometimes it can start with the EFX. “Mandala” is one of the best examples of an extraordinary track evolution - the whole project started with a bell sound and a horn sweep!
- What are you looking forward to most about your pending trip to Australia?
It is my first time to Australia and I’m so excited about it! I’m a bit nervous about the long flight – next to South America it’s my longest journey so far. But the feedback I’m getting about my visit is really great, and so I’m looking forward to it.
- Which producers do you respect the most at the moment, and why?
This is really hard to say, as there are so many great producers out there, and on a weekly basis there are more and more talents emerging. That being said, some names that are regulars in my CD wallet are: Joris Voorn, Guy J, Henry Saiz, Fairmont & Jerome Sydenham … just to name a few
Australian Dates:
10th April 09 - Darkbeat 6th Birthday - Brown Alley - Melbourne
11th Aprl 09 - S.H.A.P.E - Perth
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