Original link: http://wichelroede.net/articles/i-006.html

– Hi Alex! What have you been up to lately?

We
just finished the third issue of Symbol so I’ve been getting that to
our stockists. We still distribute it personally by hand so it takes a
while! Other than that, the usual; working on music, DJing now and then,
buying lots of records and putting mixes such as this one together.

– You are a man with many faces in which electronic music takes a
central position: You are a dj, make tracks under different aliases,
promote club nights, work at Phonica (record store) and also design
sleeves and direct music videos. How does an average (busy) week in the
life of Alex Egan look like?

Well, I tend to only focus on a couple of projects at once so it’s
not too crazy. Sometimes all I want to do is work on music, other times
it’ll be purely design. It’s usually more fun combining both of course.
Then there are times when I think ‘sod this’ and just go skateboarding
instead. I’ve slowed down on promoting club nights and I only work
part-time at Phonica, but otherwise I’m always working on something or
other.

– Track selection is an important part of being a dj, maybe even
more important than having technical skills these days. As we’re always
looking forward to your monthly dj chart at Resident Advisor, your
selection is really unique and different than most dj’s out there. It’s
something that really inspires us but at the same time it’s hard to fit
you in certain type of music (which isn’t a bad thing at all of
course!). How would you describe the sound you’re representing as a dj
and how do you keep developing it?

Firstly, thanks for bothering to check the charts! You never know
with those things if anyone is paying attention. I’m not sure I can (or
want to) describe what my sound is though, I buy all kinds of different
records. When mixing I try to find those strange combinations that
somehow work really well together and the music selection always depends
on the situation. Perhaps that’s obvious! What I do know is that I hate
all these identikit mixes that have exactly the same sound throughout,
yet I also hate ‘eclectic’ DJs who throw two completely different tracks
together for the sake of it. Always aim to make it interesting and
original, but not a complete cacophony…or what’s the point?

– Over the past couple of years you’ve played everywhere
throughout the UK and Europe, either as Skull Juice or solo. We could
assume you pretty much mastered all the skills it takes to become the
perfect dj. Would you consider yourself ‘fully equipped’ or do you still
learn new things every time you play somewhere?

Haha no, it would be enormously arrogant to say that! I’m know what
I’m doing but there’s always more to learn. Anyone who thinks they’re
‘perfect’ needs to cross back over into reality.

– Continue looking at your history as a dj, which experience helped
you move closer to some of your goals in the past or present?

It’s
hard to say. There have been plenty of ups and downs. I guess the
obvous answer would be winning the Bugged Out! mix competition back in
2006, because even though Ben and I had been DJing for a while before,
it gave us our first taste of DJing in a proper club (The End) and a lot
of opportunities came our way afterwards.

– Besides dj-ing, you’re also putting quite some time into
producing tracks. As Astronomer you’ve done several remixes for (big)
projects such as The XX and Jori Hulkkonen. Is it just coincidence or do
you find yourself more comfortable in remixing artists instead of doing
original work as Astronomer?

It’s just a coincidence. I was pretty obsessed with remixing for a
few years and it just happened that Astronomer was that outlet. A year
or so ago I decided to stop doing so many and focus on my own material,
but I still think they’re great fun to do. Original work as Astronomer?
Maybe one day.

– More recently you released an original EP as ‘The Draughtsman’,
which is a one-off project. Could you tell us more about this release,
why you decided to not just release it as Astronomer and how it’s
different from the things you did before?

As pretentious as it sounds, it’s very much a concept record. There
is a single source of inspiration and from that I obsessed over every
detail; the alias, music, the artwork, the titles…everything, right
down to the etchings on the vinyl. I’m really happy with the complete
package so I can’t wait to work on something in a similar way again.

– The ‘The Draughtsman’ package also includes a remix by Roman
Flügel, which is one of your core influences (correct me if I’m wrong).
Why do you like him so much as a producer/dj, what do you learn from him
and did you immediately think of him as a one of the remixers for the
project?

Roman’s very much an influence. He’s just one of those producers who
can do it all. If you go back through his discography it’s actually awe
inspiring just how much there is and how consistently good the records
are. He was way up at the top of my dream remixers so it was an absolute
honour to have him involved in the project.

– You’re also promoting parties, from time to time. What’s your
vision on doing a club night? Does it depend on the location and what
kind of places do you prefer?

It’s been a while since I
promoted a party, but there are a load of factors that are always
important. Most promoters will say the same thing: you need the balance
of great sound, a decent space with open-minded owners and staff,
adventurous and inspiring DJs, an enthusiastic crowd… basically it’s
really difficult getting everything just right, yet there are more and
more great parties happening in London, which is reassuring. A smoke
machine always helps too.

– Your eduction isn’t based in music at all: You studied graphic
design at Camberwell College of Arts (University of the Arts London).
Are there any similarities between your approach on being busy with
music or designing a record sleeve?

Well, that’s not strictly true, I studied Music Technology for a
while before I went to Camberwell, but you’re correct that design is at
the core of my education. A lot of creatives seems to dabble in both
audio and visual work so there must be a strong connection, perhaps they
stimulate the same areas of the brain. I tend to approach both with the
same mentality anyway.

– The art paper you’re the creative director for, Symbol, looks
really interesting. An easy question: Could you tell us more about it
and how our readers can get their copy?

Symbol is a
contemporary art paper edited by Amy Knight. I oversee the look and
feel, so brought in David Rudnick as the designer, who did a great job
on the paper’s identity. Issue 3 has just been released, so if you’re in
London you can pick it up for free from our stockists. Otherwise we
sell them online via www.symbolpaper.com

– One of your latest projects is Utter, a creative audio visual
platform and record label at the same time. Dazed & Confused asked
you a lot about it last year, and it sounds really exciting. However,
besides a party there hasn’t really been happening a lot with it until
now. Facebook tells us it’s getting prepared for 2013 though! How come
it still isn’t launched 100% properly and more importantly, what can we
expect this year?

Unfortunately, the problem is money. I need more of it to get the
initial release manufactured! I jumped the gun a little with the Dazed
article, but these things happen. Everything is ready except the
physical product, which is frustrating, but I decided to keep it all
under wraps until I have saved enough cash. Having headliners like
Trevor Jackson and Raudive at the first party was incredible so I’m
looking forward to reviving the events too. There’s a lot to do this
year.

– The main occupation in your life right now seems to be doing a
lot of different things you like, and trying to combine them as much as
possible. Isn’t it hard sometimes? Aren’t you afraid of losing track and
afterwards find out you should had taken more time for just one project
instead of many?

That’s a very good point. I’ve often thought life would be a lot
easier without splitting my time between all these different projects!
It’s a bad choice financially, there’s no security, but I always think
it’s better to have a shot at something different than regret never
stepping outside your comfort zone.

– Moving on to the future: We already figured you’re a big fan of
this new NY imprint White Material, but could you spill some of your
latest discoveries or favorite artists which we should keep an eye out
for the future?

I really like the NCW ‘Golden Lands EP’ on Ali Renault’s new label
Vivod. I reckon that’s a label to watch, as is Berceuse Heroique.
They’ve only put out one 12" so far, by Ekman, but it’s superb. There’s a
new record by Tagwell Woods coming out on Willie Burns’ label W.T.
which is stunning. Bee Mask, Pye Corner Audio, Photodementia… Oh and
keep an eye on these labels too: How The Other Half Lives, The Trilogy
Tapes/Hinge Finger, Going Good, Trax Couture, One Eyed Jacks, Blackest
Ever Black, Public Information, Dixon Avenue Basement Jams, Tabernacle,
PAN, Human Level, Power Vacuum and yes, White Material. Some of those
you already know of course!

– And what can we expect from Alex Egan and his work in the near future?

More
mixes, a little design, perhaps the odd remix, some label rumblings and
eventually, more of my own music. A rather predictable answer I’m
afraid!

– Last one: What can our listeners expect from the exclusive mix you’ve made for us?

I decided to make this Wichelroede
mix quite different to those I’ve recorded before. It starts very
slowly but gradually picks up pace. My favourite Oni Ayhun track,
OAR002-A, kicks things off. It’s one I’ve never had the opportunity to
play out..OAR003-B is the usual suspect there (for good reason). I won’t
go through the whole tracklist – let’s just say it meanders through a
lot of favourites, old and new – but it ends with one of my most loved
and well-worn records. I hope you like it.

MIX: https://soundcloud.com/alexegan/wichelroedemix

01. Oni Ayhun – OAR002-A [Oni Ayhun]
02. Aardvarck – Stay Stupid [Eat Concrete]
03. Madteo – Sheepdipping [Meakusma]
04. Berliner Ring – El Amarna [Meakusma]
05. Prostitutes – Through Their Hungry Lips [Digitalis]
06. Heinrich Dressel – Journey Through The Caves Under The Hill [Strange Life]
07. Le Dust Sucker – Everybody Used To (Rebolledo Mix) [Boxer]
08. Marquis Hawkes – Higher Forces At Work [Dixon Avenue Basement Jams]
09. Florian Kupfer – Feelin (Dubb Micx) [L.I.E.S.]
10. Legowelt – A Cold Winter’s Day [Clone Jack For Daze]
11. Bam Bam – Where’s Your Child? [Desire]
12. Lord Of The Isles – Galicia [Shevchenko]
13. Simoncino – WereHouse [Echovolt]
14. Nami Shimada – Sunshower [Crème Organization]

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