Ejeca is one of the acts responsible for ushering in the revival of 90s house music. We first heard Ejeca on his collaboration with fellow Irish producer Bicep on “You,” an emotive track with echoing female vocals, bubbling synths, and woeful chords. His latest EP Horizon on Needwant Records is also full of vocal cutups with repetitive “whoos!” that will make you want to take it straight to the dance floor. We had the chance to chat with the man behind the moniker about his favorite records, his involved with Waze & Odyssey’s Street Tracks, and of course, his music.
Nancy: It’s become passé to try to put an artist into an one genre box, which is especially so with your music. How would you describe your sound and from where would you say you draw your inspiration?
Ejeca: Just house music, I try to move about from deeper stuff to garage within this bracket. People avoid putting music in genres, but with the amount of stuff about it has to be classified at some point or we would spend hours listening to music that doesn’t interest us. Although saying Burial is Dubstep is definitely wrong!
Nancy: What records were you listening to growing up?
Ejeca: When I was in primary school I was listening to albums like Prodigy – Music for the Jilted Generation & Fat of The Land. Chemical Brothers – Come With Us. As well as non-cool trance stuff like Chicane, Dario G’s and ATB albums. It would be easy for me to not admit this but I think it was important for me when I was young and learning what makes a dance track.
I remember buying a computer music magazine with the front page ‘How to make ATB – Till I Come’ . It was great to decipher it and discover how simple a hit can be. To be honest when I have a few beers at night I love getting the old nostalgia rush of listening to tracks like Chicane – Saltwater, as my friends will tell you when they are telling me to turn it off and wrestling the iPod from me.
Nancy: What for you is the most important element in a track?
Ejeca: Depends, I suppose that’s why electronic music is so interesting. It could a anything, beat, bass, melody, vocal.
I think the best tracks are the ones that have it all. When I make a track I start with the kick, snare/clap then work on the shuffle/hi-hats. I suppose this would be the most important for me.
Unlike other music where it’s very often a vocal chorus that is key, dance can we very subtle. It’s great listening to a track, then putting it on again and you don’t know why.
Nancy: How did you get involved with Waze & Odyssey’s label Street Tracks?
Ejeca: Firas mailed me a while ago after hearing my stuff. I had heard there tracks the few weeks before and was blown away by how simple and pumping they were, I jumped at the chance to work with them as they were the first producers bar Bicep that I thought were doing a similar thing to me. I was on the Bicep Vs EP with Serge on the other track so I was aware of the direction he was heading. I’m hoping to work closely with them next year on a new project.
Nancy: The Horizon EP and your latest released on Street Tracks sounds very different. Horizon is more minimalistic house while tracks like “Night Rays” have a more dance driven beat. Do you go into making each release with an overarching concept in mind? Can you tell me more about each?
Ejeca: I suppose Horizon is more sample based than Night Rays which has a lot of synths at work. Horizon was originally a two bar loop that I had on my computer for about 6 months, I dug it out one day and expanded it. Added my new favourite M1 synth to it and got it finished in about a day.
Night Rays I made one Friday when I was excited about going out that weekend for a boogie, I had the mental picture of a great looking rave girl on drugs swinging her hair in the air. The good thing about DJ’ing is that I get to see this in the flesh to the track, it’s great.