Constantly evolving and achieving new heights as a music producer ever since his debut on the electronic dance music scene Reinier Zonneveld is also one of the nicest human beings in the scene. A background in classical music and a penchant for exploring the different realms of electromnic music distinguishes Reinier from his peers. Having played at some of the biggest festivals in the world and a few world tours under his belt, this year Reinier took over the Amsterdam Dance Event for his very own Filth On Acid showcase playing a 12-Hour Live set that left everyone on the dance floor wanting more.
We invited Reinier to have a sit-down with us before his ADE Showcase and spoke to him about his music, his label Filth On Acid, All Night Long sets and his vision. Read the full interview below.
Hello Reinier, thank you for taking the time to chat with us. How are you doing? Are you excited to be a part of ADE 2019?
Thanks for having me guys. I am doing great. I am super stoked to be at ADE and play my own Filth On Acid Showcase this year for 12 hours.
How has the year 2019 been for you so far and what have been some of the highlights of the year for you?
Well 2019 has been an excellent year for me so far with some really intense moments along the way. 2018 was also a very good year for me and 2019 took off in a great way. One of the highlights for me this year was my label Filth On Acid becoming the number 2 techno label sales wise and that was a very proud moment for me. Of course it is not all about sales and I consider it as an indicator that so many people like the music that we are putting out on the label. It is super important for me to see that so many different DJs of such varied styles have been playing our tracks. It’s great to see something so small grow up so fast.
We have also recently started rolling out our All Night Long concept parties since a few weeks and we have plans to take it around the world. We are starting off with Amsterdam, Belgium, Germany and very soon other countries too. I have been personally enjoying the All Night Long shows and it gives me the freedom to start really nice and deep and close out on a much harder note. The reception of the fans also has been equally great. So that is another highlight for me this year.
Which has been your personal favourite release on Filth On Acid this year and why?
My favourite release has to be the ‘This Is Our Time EP’ that I did with Carl Cox and Cristopher Coe whom I met in Australia. It was more of a follow-up to our track Inferno and it garnered some amazing support from fans and artists alike. It was great working with the legend Carl Cox again and having him on Filth On Acid.
This year at the Amsterdam Dance Event you will be taking control of the console for a whopping 12 hours for your very own Filth On Acid showcase. How excited are you about the same? Could you walk us through your preparations for the 12 Hour Live set?
Well what works in my favour is that I always do Live Sets for my All Night Long shows. So it is a very different setup and preparation that goes into the set. Since I am playing Live at every show every weekend, I know how the progression is going to be. And it becomes easier for me to integrate new elements that I come across into the set. If I come across a new element I hear on the tour I can just go back and add the synthesizer to my set and control it the way I want and that results in a completely new segment and adds a fresh perspective the set. The first version of my live set is over 10 years old and since then it has been constantly evolving with new elements being added before almost every show. I create a separate workspace for myself when I am playing which has everything that I have worked upon in the last ten years and I often drag different things into the Live set depending on the vibe and the crowd reaction. Since I work on the set every week, I can remember all the different eras that the tracks are under and if I want a particular remix or a track I can simply drag it and add it to the set I am playing at that moment.
I also have a lot of kicks, base and sound effects which I have mastered in my library so they sound big like a normal track and I also have my drums and synthesisers that I play Live with so I can change the melody and sound completely when I want. And it also saves you a lot of hard drive space as you don’t need to have 8 or 10 parts per track and can instead just work with one. So basically I use the same set for my 2 hour set and for a 12 hour set too. Usually a week before a big show I like to make a couple of new tracks because it would be cool to close out with something new and fresh.
Filth On Acid has been doing really great this year. What is your vision for the label in 2020?
We have our eyes set on some producers already but we are still narrowing down our selection of music. It’s a gradual process and I would really like to feature artists that would like to reinvent their own sound. Which is why as an exercise I ask all artists to have one track on their EP which is not necessarily techno and can be completely different from their usual sound. We basically want to work with producers who are pushing the envelope and want to make something completely new and which does not sound like your standard warehouse techno track but is new and fresh. This is of course very hard and challenging and also time taking for the label. I feel our label is also ready to make this kind of a statement with its releases. So in 2020 we will see a lot of really crazy music on FOA like a bit more extreme or harder and also a bit more weirder and unique.
We’ve seen you incorporate a lot of classic elements and melodies in your productions. Invocation is one of our favourite tracks. Could you tell us why you select and work on such samples?
I actually made Invocation like three years ago and the first time I played it was at Satellite Beachside in Goa, India in 2016. Sometimes you just connect to certain sounds on a different level. And it makes me wonder if I can put a more electronic, techno touch to the sound and encapsulate the same feeling in a dance track. It is amazing to be able to do that and share the feeling with the crowd on the dance floor. It is a very delicate process as you don’t want to destroy the original melody and yet create sometime special that a dance floor can relate and dance to. That’s why I always keep experimenting with different melodies and samples. Sometimes it works and sometimes it doesn’t. But when it does it is absolutely magical.