Kowton Explains Why Dekmantel Is The DJ's Festival Of Choice

Before I left for Amsterdam for my personal inaugural Dekmantel festival, a friend who’d been before messaged me saying: “It’s rare that something finishes at 11PM and you’re fully satisfied, but Dek is that something.” While his abbreviation ran the risk of making the whole thing sound more like a Vans-sponsored pop-punk bar, it’s the sort tribute that just about everybody seems to pay the festival. Next year will be the fifth annual Dekmantel festival. Over that short time, the event has amassed an unshakeable reputation and the love for the festival comes from all angles. “Dek” is indeed that “something.”

Four days into my trip, and I’m more than beginning to understand why. A world-class lineup timed to perfection, brimming with one-off back-to-backs all housed on beautifully designed stages spread across the Amsterdamse Bos. It’s not just the lineup that has people flocking here from all over Europe and beyond. The usual stresses and hassles that come with a festival are somehow miraculously alleviated by the Dekmantel atmosphere. It’s become the kind of event DJs and artists really want to play at. Which means they usually deliver something special.

Read more: You Can’t Possibly See Everybody at Dekmantel, But We Tried

“It’s a mutual respect,” Kowton tells me, over a beer under the beating sun, nestled somewhere between the Boiler Room stage and the airy cloisters of the Greenhouse. “The organizers get the best sound, the best layout, the stages are beautiful and you have crowd that is so receptive and clued up.”

Our meeting comes only a couple of hours ahead of his second appearance at the festival. This time around the Peckham-via-Bristol producer, who this year released his debut LP Utility, is bringing something special to the stage. A brand-new collaborative show alongside his Livity Sound co-labelhead Peverelist. The performance plans to construct Livity’s signature wonky UK techno in a live context, and it’s clear from the offset that there is no better place for them to be doing it. “You know that if you want to try something this is the best possible place to do it,” he explains. “I don’t think you’d ever come into it worrying about the amount of people there or crap sound.”

Photos by Bart Heemskerk.

Kowton sees what I see all weekend: a festival powered by passion. “It’s people that love music doing a festival to the best of their capabilities. That’s not a rare thing necessarilythere are a few of them aboutbut I think this is a particularly good example.”

The unique culture that Dekmantel have fostered over just five years hasn’t gone unnoticed by the acts they book to perform. “DJs just want to play it and when they do they play the best they can because they want to get asked back,” Kowton adds. “The thing we are doing is a live format which we haven’t tried before. The guys that run Dekmantel said ‘Would you do it? That’s what we’d like to see!’ So we’ve spent the past few months putting together this one-off show.” From here, he explains, the project has been a labor of love. “It’s been a big investment of timea lot of going to Bristol and backbut it’s great to be asked.”

Read more: How Livity Sound Removed Genre From the Equation.

The set they went on to perform utilized a powerful new set-up. The catalogue of Livity Sound and sister label Dnuos Ytivil was raided for singular, live interpretations. “I’m doing the backbone of the music while Tom is doing the backbone of the dubbing and stitching it all together,” Kowton explains. “With a live show, if you’re just playing raw drum loops and samples you notice how hard it is to get cohesion. Tom there dubbing it and gluing it all together makes a world of difference. If I was doing it on my own it would be a fucking mess.”

Their dedication to providing something unique for the Dekmantel devotees is no outlier on the bill. Across the weekend the finest DJs in the world all provided their own bespoke moments. Unsurprisingly, Midland’s “Final Credits” created one of the more gloriously anthemic chapters of the weekendeasing us into Saturday afternoon as we nursed the aftershock of Legowelt’s live set at the Melkweg afterparty. Roman Flugel and Daniel Avery’s main-stage b2b session was brilliantly played, guiding the crowd into heavier territory ahead of Detroit minimal demigod Daniel Bell who was deploying a devastating hardware and live-drum special under the DBX moniker.

Other certified heavyweights lived up to their reputationsDJ Harvey opened up the Selectors stage with a typically slow-burning but hopelessly seductive three and a half hour set which began in a torrential downpour and ended in glorious sunshine. Also a quick nod to the real life Quentin Blake illustration and reining overlord of the abstruse and esoteric, Ricardo Villalobos, who arrived late but pushed forward with a divisive set which hypnotized and perplexed in equal measure.

Kowton referred to Dekmantel as a “do what you do climate”a place for experimentation protected by the faith that the crowd and organizers will be receptive and responsive. Describing the event as one “for the heads” seems to allude to a kind of snobbery which plagues far too many electronic-led festivals. There’s already an over saturation in this gameTHUMP has previously made no bones about the increasingly formulaic nature of festivals lineups and the fog of monotony that seems to hang over the market. Yet Dekmantel manages to effortlessly sidestep thiseven with a capacity that’s doubled since its inception four years ago. As interviews with the organizers will attest, they don’t want to be the biggest, they just want to be the best in the eyes of the fans and the artists. Watching Kowton and Peverelist’s taut and spell-binding reimagining of their own back catalogue, it’s clear how they’ve managed to do this. Creating a platform for performances that go above and beyond the prescribed formula. As the sounds of Livity clatter out through the humid hum of the Greenhouse this prospect of innovation, in the midst of a festival, is palpable.

As a parting shot, before he took to the stage, I ask Kowton whether this live set-up is going to be something he and Pev will perform again, or whether it was a Dekmantel one-off. “We’ll see how it goes, we’ve put a good two months into it so it seems a shame to let it go,” he rightly considers. “But at the same time, we’d like to keep it as a bit of a special one.” Looking back on their set, and the sum total of my first Dekmantel, one thing is clear: whether or not it happens once, twice, or a hundred times again after this, the first time will always be a bit of a special one.

Follow Duncan on Twitter.

Kowton Explains Why Dekmantel Is The DJ's Festival Of Choice

Before I left for Amsterdam for my personal inaugural Dekmantel festival, a friend who’d been before messaged me saying: “It’s rare that something finishes at 11PM and you’re fully satisfied, but Dek is that something.” While his abbreviation ran the risk of making the whole thing sound more like a Vans-sponsored pop-punk bar, it’s the sort tribute that just about everybody seems to pay the festival. Next year will be the fifth annual Dekmantel festival. Over that short time, the event has amassed an unshakeable reputation and the love for the festival comes from all angles. “Dek” is indeed that “something.”

Four days into my trip, and I’m more than beginning to understand why. A world-class lineup timed to perfection, brimming with one-off back-to-backs all housed on beautifully designed stages spread across the Amsterdamse Bos. It’s not just the lineup that has people flocking here from all over Europe and beyond. The usual stresses and hassles that come with a festival are somehow miraculously alleviated by the Dekmantel atmosphere. It’s become the kind of event DJs and artists really want to play at. Which means they usually deliver something special.

Read more: You Can’t Possibly See Everybody at Dekmantel, But We Tried

“It’s a mutual respect,” Kowton tells me, over a beer under the beating sun, nestled somewhere between the Boiler Room stage and the airy cloisters of the Greenhouse. “The organizers get the best sound, the best layout, the stages are beautiful and you have crowd that is so receptive and clued up.”

Our meeting comes only a couple of hours ahead of his second appearance at the festival. This time around the Peckham-via-Bristol producer, who this year released his debut LP Utility, is bringing something special to the stage. A brand-new collaborative show alongside his Livity Sound co-labelhead Peverelist. The performance plans to construct Livity’s signature wonky UK techno in a live context, and it’s clear from the offset that there is no better place for them to be doing it. “You know that if you want to try something this is the best possible place to do it,” he explains. “I don’t think you’d ever come into it worrying about the amount of people there or crap sound.”

Photos by Bart Heemskerk.

Kowton sees what I see all weekend: a festival powered by passion. “It’s people that love music doing a festival to the best of their capabilities. That’s not a rare thing necessarilythere are a few of them aboutbut I think this is a particularly good example.”

The unique culture that Dekmantel have fostered over just five years hasn’t gone unnoticed by the acts they book to perform. “DJs just want to play it and when they do they play the best they can because they want to get asked back,” Kowton adds. “The thing we are doing is a live format which we haven’t tried before. The guys that run Dekmantel said ‘Would you do it? That’s what we’d like to see!’ So we’ve spent the past few months putting together this one-off show.” From here, he explains, the project has been a labor of love. “It’s been a big investment of timea lot of going to Bristol and backbut it’s great to be asked.”

Read more: How Livity Sound Removed Genre From the Equation.

The set they went on to perform utilized a powerful new set-up. The catalogue of Livity Sound and sister label Dnuos Ytivil was raided for singular, live interpretations. “I’m doing the backbone of the music while Tom is doing the backbone of the dubbing and stitching it all together,” Kowton explains. “With a live show, if you’re just playing raw drum loops and samples you notice how hard it is to get cohesion. Tom there dubbing it and gluing it all together makes a world of difference. If I was doing it on my own it would be a fucking mess.”

Their dedication to providing something unique for the Dekmantel devotees is no outlier on the bill. Across the weekend the finest DJs in the world all provided their own bespoke moments. Unsurprisingly, Midland’s “Final Credits” created one of the more gloriously anthemic chapters of the weekendeasing us into Saturday afternoon as we nursed the aftershock of Legowelt’s live set at the Melkweg afterparty. Roman Flugel and Daniel Avery’s main-stage b2b session was brilliantly played, guiding the crowd into heavier territory ahead of Detroit minimal demigod Daniel Bell who was deploying a devastating hardware and live-drum special under the DBX moniker.

Other certified heavyweights lived up to their reputationsDJ Harvey opened up the Selectors stage with a typically slow-burning but hopelessly seductive three and a half hour set which began in a torrential downpour and ended in glorious sunshine. Also a quick nod to the real life Quentin Blake illustration and reining overlord of the abstruse and esoteric, Ricardo Villalobos, who arrived late but pushed forward with a divisive set which hypnotized and perplexed in equal measure.

Kowton referred to Dekmantel as a “do what you do climate”a place for experimentation protected by the faith that the crowd and organizers will be receptive and responsive. Describing the event as one “for the heads” seems to allude to a kind of snobbery which plagues far too many electronic-led festivals. There’s already an over saturation in this gameTHUMP has previously made no bones about the increasingly formulaic nature of festivals lineups and the fog of monotony that seems to hang over the market. Yet Dekmantel manages to effortlessly sidestep thiseven with a capacity that’s doubled since its inception four years ago. As interviews with the organizers will attest, they don’t want to be the biggest, they just want to be the best in the eyes of the fans and the artists. Watching Kowton and Peverelist’s taut and spell-binding reimagining of their own back catalogue, it’s clear how they’ve managed to do this. Creating a platform for performances that go above and beyond the prescribed formula. As the sounds of Livity clatter out through the humid hum of the Greenhouse this prospect of innovation, in the midst of a festival, is palpable.

As a parting shot, before he took to the stage, I ask Kowton whether this live set-up is going to be something he and Pev will perform again, or whether it was a Dekmantel one-off. “We’ll see how it goes, we’ve put a good two months into it so it seems a shame to let it go,” he rightly considers. “But at the same time, we’d like to keep it as a bit of a special one.” Looking back on their set, and the sum total of my first Dekmantel, one thing is clear: whether or not it happens once, twice, or a hundred times again after this, the first time will always be a bit of a special one.

Follow Duncan on Twitter.

The 25 Best Albums Of 2016 So Far

The history of dance music has primarily been told through singles. One great trackwhen properly nestled in the right DJ set, so the logic goeshas the power not only to set the dancefloor alight, but to shift the sound and energy of a scene writ large. You’re never going to spin a full-length album at peak hours, but the format has furthered some of the dancefloor’s great paradigm shifts, allowing producers to explore the furthest corners of their sound. Moments of euphoria are spread further out, but they’re just as present, and always worth the wait. We’ve already told you the year’s best tracks, now strap in for the long-haul below and check out the 25 best albums of 2016 so far.

Amnesia Scanner – AS

Amnesia Scanner has never felt real, at least in the sense of corporeal human beings with fleshy fingers programming the mutant beatwork and ASCII melodies that make up their music. But earlier this year, they made their debut in the physical world with AS, issued in varying forms of paper and plastic. The short EP contains some of their most hookily structured material to date, as if the shadowy figures behind the curtain realized that restructuring their jabbering vocals and drum judders into more recognizably humanoid outlinespop and club structures, mainlywould make their work more legible to mere mortals. As it turns out, appending sinew to steel does not a human make, but AS‘ real draw is in the ugly bits, where meat and tech collide in a beautiful cyborgian failure.Colin Joyce

ANOHNI – Hopelessness

Sonically ambitious, ecologically minded, and emotionally fragile all at once, ANOHNI’s HOPELESSNESS is one of the most multifaceted records 2016 has seen yet. The New York-based artist, formerly of the band Antony and the Johnsons, has crafted a protest album that plays out like an assault on society’s grandest ills: climate change, government surveillance, drone strikes, and genocideand it’s particularly interested in the places where all of the above intersect.

But the record’s genius lies partly in the sneakiness with which it plants these messages in the ear. Bolstered by production by Hudson Mohawke and Oneohtrix Point Never, HOPELESSNESS uses the physicality of dance music to bruising effect, making ANOHNI’s political provocations both more palatable and more punishing. Speaking to THUMP earlier this year, ANOHNI said that the way she “express.” That’s a generous thing of the 26-year-old artist to say, but it’s unlikely there are many people who aren’t left in the dust by his debut for J-Cush’s Lit City Trax. Remixing everything from hip-hop hits to an NFL theme song and a Cousin Terio Vine, the mixtape is an exercise in profound artistic tenacity: just when you think he can’t fit another idea into a track, he fits in eight.Alexander Iadarola

Uli K – Elusivo

Long the most laconic and sensitive member of Long London’s Bala Club crew, singer/songwriter Uli K steps out of the shadow of younger brother Kamixlo (who’s released on PAN sublabel Codes) and pal Endgame (recently signed to Hyperdub) and into blinding, heartrending vulnerability. Uli told The FADER at the time of the EPs release that it that it was part of a process of coming to terms with heartbreak and gender identity by presenting all the misery and confusion wholly unvarnished, or as they put it “snitching on myselfreading my diary out loud.”

That pain reverberates throughout. Even over the fractured beats care of Berlin shredder Mechatok and frequent Yung Lean collaborator Whitearmor (Lean also turns up for a brief verse, on that “Drifting”), Uli sings of blood and money, voluntary loneliness, and romantic dissolution. The catharsis these stories offer feels generous, a hand stretched outhowever tremulousfor whenever you feel similarly broken.Colin Joyce

Various Artists – Pampa Records Vol. 1

There’s a dizzying array of sounds and styles represented on the first label compilation from DJ Koze’s Pampa Records, from Jamie xx’s rave retro-gazing to Matthew Herbert’s butcher-shop techno trickery. But the unifying concept is the unmitigated joy that a dancefloor can bring. UAE-born producer Abood Nasrawi makes that explicit on his contribution “Bump with You,” sampling a small child’s giggly suggestion that singing “embarrassing,” but dancing is “ok.” The track then lurches into glassy-eyed, unrestrained beatwork, permission for liftoff having been granted from the mouths of babes. Pampa’s stable of signees and friends often adopt worn club forms, but their productions underscore why people return to things like house and techno over and over again: club music’s currency is ecstasy.Colin Joyce

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