DubLogic Interview - May 31, 2021
Interview with Label Head Beatnok recorded early 2020 in the midst of Covid. Huge Thanks go out to the DubLogic crew.
Can you introduce yourself? (both personally and musically)?
Of course! My name is Dylan Nelson and I produce electronic music under
the name “Beatnok". I am born and bred in Detroit, Michigan. I started Beatnok sometime in 2012, but music has been a fundamental part of my life since birth really. I am a classically trained piano player, and I
received my undergrad degree in Music from a university here in Detroit. I have worked a number of musical jobs, from sync licensing to FOH, culminating with my current position at Paxahau, the promoter of Movement Music Festival.
As a trained musician (who has academic degree in music), how do you see electronic music? What fascinates you in this the most?
I think this is two-fold - the first is that electronic (i.e. "dance”) music has a very strong social element to it. You go to the club, to experience it the "right" way: surrounded by your friends and listening on a huge sound system.
Despite being from Detroit, the first styles I really got into were jungle and dubstep and the first time you feel a deep sub hit your chest, there’s no going back.
The second element is a bit more musical I guess - it wasn't until college that I discovered who could probably be considered the origins of electronic music: people like Steve Reich, Pauline Oliveros, Stockhauzen. Pieces like Reich's
“Different Trains" kind of expanded my world of what was possible. John Adam's "Phrygian Gates", if you sequenced it with a synthesizer, possesses a ton of elements that could probably be considered contemporary production techniques. It
sort of showed me, that there’s so much that can be done, still in the confines of "dance" music. Electronic music can be anything and as long as there is a steady pulse, you are able to do a large amount of "abstraction". If you get too
crazy tho, it stops being fun in the club, so there’s a limit, to what should be done haha.
Another genre I like a lot, that uses a lot of "modern" musical techniques, is math rock - I’m still a noob, but I hear a lot of similarities with jungle, oddly enough.
You mentioned that you were born in Detroit and you've been living there since. The city is famous about its techno history. How is it to live in such a city? Can you draw inspiration from this for your own
productions?
Detroit is an incredible place for a variety of reasons: it can kind of feel like a small town, despite being a large city. The city itself has been through ups and downs and it's only somewhat recently, post - bankruptcy, that things have
really picked up. Because of that tho, the people of the city have consistently built, what they need for themselves. We don’t have a night mayor like London, or a "night time" economy like Berlin, or even late curfews like New York. It's
almost a cliche to describe the "DIY" spirit of a place like this, but it's true, if you want something, you can achieve it, but you need to work for it. Not only that, there’s someone somewhere, who is
probably working harder than you. It seems a small thing, but that mindset exists in many of my peers, and people who I look up to. From Motown to Planet E, even companies like Ford and GM. Nobody is going to hand you anything here.
Sounds challenging, but also really motivating in the same time. Let's talk a little bit, about your own productions. How would you characterise your sound, for someone, who never heard a tune from you before?
Ha! This is always a tough one. Because of my background, I feel very comfortable composing using the keyboard, and (I think) that comes through in my songs - I tend to use "riffs" and "hooks". I never want to characterize myself using
genre tags, because I like writing in all different tempos. I quite enjoy "broken" rhythms (a la dubstep & jungle), so I naturally end up drifting towards those types of rhythms. I also love synthesizers and use the few that I have very
liberally.
You released a lot of different music in last few years, at various labels. Do you have a favourite label/release? If yes, could you talk about why?
How does one pick a favorite child? Lol, I'm only kidding, but it is hard to choose. I am very self-critical, so when I listen back to old songs, I tend to focus on small, insignificant details that probably only I notice, things that I
could've done better. Considering that, I think my favorite released music is latest EP "Aptima", released on AGN7 Audio. It's diverse and represents a lot of my interests. I also refined my
production process on it, and also used new (to me) mixing techniques. Big shoutout to Ronin Selecta and SPKTRM who both encouraged me to explore other tempos on it. Because of that, it has a lot of staying power. "Unterestereo" still goes
off in the club.
All this said, over the last 2 years, I have made even more upgrades to my workflow and have written a ton of music. It finally feels like I am becoming comfortable in my own voice, so I'm really excited to share that in the near
future.
I personally absolutely loved your AGN7 Audio EPs! Can you talk about how this collaboration started between you & the label?
Definitely! I alluded to Detroit having a "small town" feel. There was basically one group who was throwing drum and bass parties, and at this time I was writing a lot of autonomic inspired stuff. Now, drum and and bass is not popular here,
and the autonomic sub-genre even less well known. I had been around, going to clubs for a little while, so I finally was like F it, I burnt a CD with some music and gave it to one the DJ's. This DJ was more into jump up and techstep, stuff
like that, but he ended up passing it on to Ronin. I had put my phone number and everything on it lol, so he ends up calling me and we basically hit it off immediately. It wasn't long before I met SPKTRM too, and we were all on the same
wavelength. This was more or less one of the first times a "stranger" had shown an interest in my productions, so I was off to the races and churned out a ton of tunes.
Recently you started your own label, called Steppe Two. Can you talk about the how this was born? What is the concept behind it? How it feels to release your own music on your label?
Steppe Two was born out of the feeling that my music didn't really fit anywhere. I had sent out tracks to some other labels i wanted to work with, but never heard a reply and because of covid, I was now at home, writing more music than ever
before. These two things combined really gave me the idea, that I should just do it myself. As it looks to me, there is a local (Detroit) void of a lot of different styles, specifically UK leaning styles (dubstep, etc). Another driving
force was I have been incredibly blessed to work some amazing visual artists, Dean Ripper and Dylan Magliocco. Steppe Two has a very strong visual identity which can be attributed wholly to them. Earlier I mentioned having a variety of
musical jobs. Another huge benefit is the retention of 100% of all my rights, publishing, licensing, mechanical, etc. There isn't a ton of money selling music, but there is in licensing. I feel confident in my music, so I don't want to
sacrifice one of the only revenue streams left.
Steppe Two has not "officially" launched. I have done some "soft" opening stuff, as you can listen to the first EP on soundcloud and youtube, but I currently seeking distribution, which I'm hoping to have soon.
The name Steppe Two comes from the process - step one is writing good music, step(pe) two is sharing it with the world.
Understand! I really liked the stuff you shared on soundcloud, so looking forward to hear more from the label. Let's talk a little bit about your show, Applied Minimalism. What is the concept behind it? Is this a regular thing, or
you're doing this, when you manage to collect the needed quantity of music for it?
What a throwback! Applied Minimalism was the radio I show I did all through college. I got the name from a Loxy mix actually lol. So I referenced a lot of the early electronic stuff that I learned about, this was basically the culmination
of that. "Minimalism", as it relates to western music, encompasses a ton of electronic music, so I wanted to showcase that. This is where I could bridge Johann Johannsson with Djrum, and Max Richter with Photek. It's also grew my network
professionally. I became General Manager of my college’s station, which is how I got my current job
The volume of music was never a problem lol, I love music and am constantly listening and downloading. I think it's one of the most important aspects of being a good musician/DJ/producer, regardless of genre: you need to love music. If
you're only discovering and playing music, as a means to an end and not an end in and of itself, it’s going to be a slog, and you aren't going to have fun, and that is going to be passed on to the people listening to you. I tried incredibly
hard to find a home for Applied Minimalism post college, but nothing really came to fruition.
It's really sad actually, I checked a few of those shows (among your fb videos) and I really liked them. 2020 was really hard for everyone, specially for those, who're trying to make a living from arts. How could you cope as an artist
& as a person with the Covid situation?
The elephant in the room - Covid lol. There's two separate, but related tracks to this: Covid for Beatnok was actually somewhat fruitful. I mentioned writing a ton of music this year, that wouldn't have been possible without Covid. Steppe
Two wouldn't exist without Covid and Covid has allowed me a few DJ opportunities (online), that I never would have gotten during regular times.
Covid for Dylan has been, well, horrible lol. I work in Live Events, which was one of the first things to go. I have always had to work multiple jobs, but at one point I was working 3 different jobs, and then the mental effect of being
alone for so long. I'm sure, I'm not only artist who is prone to bouts of sadness, but it's now even more difficult to combat. This is to say nothing of the political situation in America - I'm sure there isn't a person on the Earth who
isn't aware of US politics of the last couple years. To see people going about their business, pretending nothing is happening as my future hangs in delicate limbo, it's been a challenge, and I, much like everyone else, fight for bits of
happiness everyday. I am thankful that I have such a rich and vibrant relationship with music, it's really been the thing that has kept me out of the deepest depths of despair.
I can agree 100%! Let's talk about the future goals. What're the future plans for Beatnok & Steppe Two?
I am under no misconceptions of the economic viability of selling music, so I have never defined success that way. My main goal for Beatnok has always been the respect of my peers, and to be recognised by people who don't know me
personally. If Beatnok can write a song, that touches someone's heart in some far off place, that means I have succeeded.
My goal for Steppe Two is more concrete, and I want it to be a pillar of the local Detroit scene. I know, I am not the only person writing UK-tinged dance music here, and so I want it to be the home I never had. Just because I don't know
them yet, doesn't mean those people don't exist, and I've already managed to meet a few. One act I want to shoutout by name is Ke Thu, a local Detroit duo, who write some really amazing music. I am blessed to have a future Steppe Two
release with them onboard.
I am big "Think Global, Act Local". If I can focus on just the next step, focus on my local community, I know that I will reach not necessarily the place I want, but the place I am meant to be. Just gotta work for it and not give
up.
Thank you very much for your time, for doing this interview, it was a pleasure to chat with you! I wish you great success in your projects/jobs! Any final shouts?
Of course!!! Thanks so much for having me. I wanna shoutout Dylan Magliocco, Dean Ripper, The Champ and the whole discord chat. Shoutout Mark Kloud, the ride or die homie, and of course Ronin Selecta, SPKTRM, the whole Paxahau Crew, Every
Woman Music, Joel Dunn, Mark Moss, Sinistarr, Ke Thu, Kevin Reynolds, Beatloaf, Gallons, Detroit Bureau Of Sound, Craig Gonzalez, and every Detroiter out there doing it. I know I missed some people so I hope they can forgive me!
