Canadian duo Fabrikate’s recent album Made Me Feel blended both house music and disco influences into a sound that while heavily influenced by the sounds of the past, also manages to remain rooted in modern-day dancefloors, taking inspiration from the US, Europe and of course their native Canada. Following a remix of Flame by Cassuis’s Boombass that was supported by Pete Tong on his Radio 1 show, it’s now the turn of Mason Maynard to put a unique twist on another cut from the LP.
Mason Maynard continues to cement his reputation as one of dance music’s fastest rising talents. Backed by the likes of Pete Tong, Danny Howard and Monki – who bestowed the accolade of ‘One To Watch’ upon the Manchester-born DJ – his productions have landed on esteemed labels like Cajual, Repopulate Mars, Defected and Relief Records, garnering support from industry heavyweights Lee Foss, Skream, Richy Ahmed, Patrick Topping, Claude Von Stroke, Hot Since 82 and Carl Cox, with the latter dropping Mason’s productions in his Essential Mix.
WWD: As someone who’s used to touring and socialising a lot, how have you personally been coping with the year so far? What’s been the most challenging aspect?
I’ve just been doing everything possible to try and stay sane! Going on lots of hikes and spending as much time as possible outdoors, chilling with friends: pretty simple stuff really but it’s definitely helped.
WWD: The UK government seems to have pretty much turned its back on the nighttime industry… in your opinion what should they be doing?
They should be standing behind and supporting what is the country’s fifth biggest sector. It’s not something they can financially afford to lose, even if they don’t really care about the people and businesses involved in it. The data they’re working with doesn’t even seem to point towards the hospitality industry being the cause of outbreaks, so to me it just seems like a convenient excuse to turn their back on us. It’s funny, when charity work or events needs to happen the govnerment will call in favours all over the place – but it’s the people that make those things happen, that give up their own time and expertise, that are being forgotten about.
WWD: On the positive side, have the restrictions allowed you to be more productive in the studio?
I wouldn’t put it down to that as I’m in the studio making music every single day anyway, but definitely at the start of lockdown I had a really good run of making some great music. That’s faded away a bit now. Being out of clubs isn’t helping. It’s not until you’re not seeing people every day that you realise how much of an effect being physically part of the scene has on the music you’re making. I’ve actually been going back through videos trying to get myself back in that mindset, but it’s not the same.
WWD: Tell us about your remix for Kookoo Records. The original is pretty much a straight up disco record… were they are any elements in particular that you knew you wanted to preserve or emphasise in your remix?
The instrumentation on the original was just so strong that this was one I had to do. It’s really important for me when picking the remixes I do that there’s something in the original that grabs my attention, and that was definitely the case with this.
WWD: People haven’t been raving together properly for months now, so what purpose do you think ‘dance’ music can serve in these times?
I think it’s therapy – albeit at home. Dance music is an escape for so many people – going out at the weekend is what gets them through the week, so even though we can’t do it together at the moment, the music still connects people and means a lot to them.
WWD: How much are you currently missing performing live, and do you think that thing like live streams can go anywhere to replacing proper clubbing?
Clubbing is a completely different animal. Live streaming has a purpose for sure and I think it’s great that we can all stay connected, but to be honest it’s nothing like a real nightclub experience, where you get people from all walks of life brought together in a sweaty basement or wherever.
WWD: If the music industry should learn one thing from the coronavirus pandemic, what do you think that should be?
I think it’s as simple as not taking it for granted. I’ve definitely seen people commenting and had conversations with people over the last few years with them saying that some nights have felt more like a business decision than actually wanting the experience to do a good one. I think people should be taking this time to reflect on why they do what they do. Clubbing was originally about inclusiveness and providing safe spaces for people as much as the music, so hopefully when they come back that will be the focus.
WWD: What else do you have coming up that we should be looking out for this year?
I’ve got a song with Green Velvet, Propane, which is out 23 October and probably one or two more before the end of the year. I’m sitting on so much music now that I just need to spend some time planning the schedule carefully.
WWD: Finally, what’s one record from this year that’s been unfairly slept on, or that would have been a bigger hit if clubs had been open?
Little Fritter – Bub Rhythm on Hot Creations. It’s a banger