Interview With Rennie Pilgrem

What's new in the world of Rennie Pilgrem,, what projects do you  have on  the go at the moment?

I am just finishing my first film score for a movie called 'The Fix'. I have just finished a batch of stuff for a couple of Library companies for use on TV both on my own and as Bush Doctors  (which is a new project I do with Jem Stone from Fingerlickin').  We are just sorting out our first monthly residency, which will start in January at a new venue called The Raving Budda in Shepherd's Bush West London.  I am also half-way through volume 3 of my Street Legal Series.  Which will be another double EP of modern fuinkiness.

How did you get into Music Production? What’s your musical background? 

My background was as a keyboard player saxophonist until I heard early Rave in 1989 whereupon I put down my horn and picked-up and Atari and a sampler instead. I cut my teeth making records as part of Hardcore outfit Rhythm Section.

How do you approach a tune? Drums first? Melody?

Whichever comes first...drumbeats suggest melodies to me and melodies fit with certain drumbeats. I usually do a rough demo in Ableton, getting the vibe and tempo right and then bring the project into Logic.

You’re well known for your long running TCR imprint, what’s happening with the label now?

At the moment I am just using it as a vehicle for my own music because the world of digital does not really support releasing other artist's material currently.

You’ve been acknowledged as the pioneer of ‘Nu Skool Breakz’. Is this acknowledgement a daunting thought when you sit down to make music?

Sometimes being known for one style can hold you back because people expect that genre from you, but I am currently experimenting with lots of different styles which is exciting for me. You can't beat a fat beat though.

You recently created a sample pack for Loopmasters, how did you find this when compared to creating musical productions?

Well it made a nice change to concentrate creating small chunks of audio that would be good to use as building blocks in other people's tunes. The hardest part was letting go of stuff that I wanted to use myself.

When you made your pack, were you worried that producers were going to be sampling, or trying to recreate your sound?

No because the whole point is that you are providing artists with your sounds with a view to them twisting them to suit their own work. And one of the great things about these packs are people using material from outside their comfort zone...that's where interesting music comes from. EG a drum n bass dude using stuff from a Deep House collection etc.

Being an in demand DJ, do you prefer smashing dancefloors across the world, or getting in the studio and writing music?

I still like to DJ becasue it's still a huge buzz to get a crowd-going but it has always been about creating music for me.  That's my first love and always will be.

Is there one gig or country that stands out in particular in your years of travelling the globe performing?

Yes Australia, for 15 years I have been going there and having great gigs meeting people who are very knowledgeable about the music I have been making.

Do you have any advice for the budding producers out there that are trying to make it in the competitive world of the music industry?

Things are very tough now. I would say have another means of earning a living first and do it for love, don't be scared to be  different and if you get a break it's a bonus.