:: Ibiza-Voice features As You Like It

I have an anniversary to celebrate this weekend. As You Like It is turning one, and what a year it's been! As one of their residents, I've been lucky enough to play alongside the likes of Dan Bell, Sutekh, Ben Klock, and DVS1 to name a few. In celebration, wrote a nice feature about this weekend's event, and our fearless leader Jeremy Bispo. He had some very kind words for his residents: 

"Few promoters give their residents the props they deserve, but Bispo doesn’t believe the AYLI parties would have ever reached critical mass over the past three-sixty-five without the support of his residents: Christina ChatfieldRich Korach, and Mossmoss, it’s a welcome change to hear someone put the locals in the same context as the out-of-town guests, and yet another reason why these gatherings are so distinguished."

Thanks for the love Mr. Bispo, I'm really looking forward to this show.

Read the rest of what ibiza-voice has to say about AYLI.


:: New remix out on Klectik

Klectik010 is the ear pleasing "Little Talk" EP from Buenos Aires based artist, Gurtz. This is the second project for him on the Chicago - based label, following up the very successful Lotus / Brainbow vinyl release (with Dilo). The EP sees Gurtz furthering, developing and exploring his sound. The title track harkens back to an old-school Chicago acid house vibe, while at the same time maintaining a modern feel with disjointed melodies, plush vocals, and clean and crisp production. "On the Roof" features another injection of house infused tones with detuned pads that throb throughout the track which are carried along by a "tracky" beat. Beretta artist Christina Chatfield delivers a powerful remix that strikes a beautiful balance between the more rawer sounds of techno on the lower end with more sultry sounds on top featuring blissful keys working hand in hand with the vocal from the original. Take a listen, and check out some feedback for the EP on Resident Advisor. If you like what you hear, you can pick it up on Beatport.

Klectik010 Gurtz Little Talk EP W/ Christina Chatfield Edit by Klectik Recordings



:: Finite EP available digitally

Hello friends, 

My Finite EP with Beretta Music  is now available digitally, after selling out on vinyl. The digital release includes a new remix of "Hands" that wasn't on the vinyl release. Check it out now on Beatport

This year's Movement Festival is rapidly approaching, and I'll be going again for the first time in two years. I am very much looking forward to it! It's always like a reunion of sorts, with old friends from all over the globe getting the chance to hang out and catch up. I will also be playing the Beretta showcase at TV Bar on Friday night. Come on by if you're in the D!


:: Interview with Housepitality

In preparation for my appearance at their weekly party that's coming up, the folks over at Housepitality had one of the men behind KontrolGreg Bird ask me a few questions.

GB: It would appear that much of your existence, from your job, to your creative pursuits, to your social life, seems to revolve around music. could you shed some light on how and why things turned out this way

CC: Well, I know some people say it’s a cliché answer, but it’s the only answer I have! I was raised by a family of musicians. My mother sings opera, my father is a pipe organist, and my older brother plays classical upright bass in an orchestra. All three are currently working musicians in their field. So as you can imagine, I’ve been surrounded by music as long as I can remember. I took lessons on several instruments throughout childhood including violin, flute, guitar, piano, and voice, but no one instrument really stuck for the long term. However, it was still pretty clear I had music in my blood (literally). Rather than follow in the footsteps of my other family members who mastered one single instrument, I liked playing many instruments and making many different kinds of sounds. As I started writing songs, I realized that I wanted to be able to control every aspect of the way it sounded. So you take all those things, and mix it with the fact that I ended up falling in love with electronic music as a teenager growing up in the Midwest, and it all led to me studying music synthesis in college, which led to producing music and playing live sets, etc. It’s been sort of a domino effect over time.

GB: what producers or DJs are turning your crank these days, and why?

CC: Oh wow, I could go on about this for days, so I’ll try to keep it short. In no particular order…

Currently I’ve been really loving Donato Dozzy. He played a show in San Francisco about a year ago that just completely blew my mind. I didn’t recognize a single track he played, and it sounded timeless yet fresh. Sets like that tend to end up really standing out for me. He is clearly one of those DJs who has been listening to and collecting music for a long time. There was a Krautrock mix of his up on mnmlssgs that also showed just how far the depths of his musical knowledge goes, and that mix is in my regular listening rotation. His productions are really astounding too. I like how heady and weird his music gets – people often use the term “hypnotic” for his music and I’d say that’s pretty spot on.

I also just returned from the Unsound Festival in New York, where I saw Atom Heart and Pink Elln play a rare live set together that was really incredible. It was all hardware, lots of vintage gear, and what turned me on so much about it was the fact that it sounded like future music. I also love it when vintage gear is used in music and it gives it a kind of retro sound. But to see those two play some of the most current-sounding and futuristic dance music I’ve heard in a long time, using classic gear, was a real treat. It was perfectly programmed from start to finish yet heavily improvised, and is definitely something I’ll be thinking about for awhile. I feel very lucky to have witnessed that performance because it was SO stellar. I will definitely be hunting down more music from those two.

I also get into more pop-influenced music as well, and have been liking a lot of Benoit and Sergio’s productions. Their track “Full Grown Man” is one of my recent favorites. Also Public Lover has been putting out some really beautiful, impressive music too with their EP Musique D’Hiver Pour L Ete. Brandt Brauer Frick is another group that is taking things in an interesting direction. I had the pleasure of seeing them perform at Mutek Montreal last year and they stole the show for me. Their album You Make Me Real is constantly playing on my headphones. The former music school nerd in me loves to hear great songwriting, and all of those groups cater to that side of music I enjoy. It’s refreshing to hear some catchy vocal hooks, jazzy influence, and live playing in dance music.

GB: When writing music, do you have a particular way in which you generally compose?  does it start with a beat and get fleshed out from there, or do you start with a melody or musical idea and work around that? how much of the end product is planned out versus spontaneous?

CC: I’ve had writing go both ways, planned and spontaneous. The planned tracks tend to get completed faster. There have been times where I get a clear idea in my head, a bass line, a chord progression, something like that, and I’ll go home and just knock it out. The title track from my Finite EP on Beretta Grey was like that, I wrote it from start to finish in about three days. It was one of the fastest writing processes I’ve ever experienced because I knew exactly what I wanted to do from the get-go. But having lots of hardware synths in my studio can lead to me recording 40 minutes of messing around, just getting lost in the gear and twisting knobs. I’ll go back and listen to those lengthy recordings and pick out a section that stands out to me, and build something from there. I’ve also had moments from a live set I played where I realize afterwards a certain part worked really well and I should expand that into a more complete musical thought in the studio. Those tracks are more spontaneous in the writing process, and can take much longer for me to finish as I find my way and figure out where I want it to lead.

GB: most live acts these days keep a pretty consistent set from show to show. I’m always amazed by the fact that you write a ton of new music (if not an entirely new set) each time you play, making each performance unique.  how do you stay so consistently creative, and what happens to all that old music after it’s been used in a set?

CC: I tend to be inspired by many different kinds of music, anything from old Nine Inch Nails to current bands like Blonde Redhead and The Soft Moon. My brother has also been turning me onto Brazilian funk. Depending on what I’m listening to at any given moment, it might inspire an idea that I want to go into the studio and experiment with. Drawing inspiration from all types of music, not just electronic music, helps to keep creativity and ideas flowing for me. Also, I have a pretty extensive collection of hardware synth recordings that I’ve made over the years, in addition to the new recordings I’m currently making. All of that provides a good palette of parts to use for live sets.

GB: finally, what is your favorite aspect of San Francisco’s dance music scene, and where does it have the most room for improvement?

CC: I really like the sense of community you experience in the music scene here. There are lots of talented producers that live here, and not really a sense of competition at all between anyone, but rather a sense of encouragement. I also really like that there isn’t drama between various promoters. People tend to work together, and again, it’s not a competition between promoters. Everyone is down for the cause…  you don’t see these situations where promoters are trying to sabotage each other or what have you. I also love that San Francisco is the kind of city that allows for outdoor daytime events in parks. Grabbing a blanket, some friends, and listening to tunes in the sun makes for a damn good Sunday.

One thing I would like to see more of is DJs playing extended sets. I’ll admit I get a tad envious when I see something like Bunker in NYC inviting Speedy J or Prosumer for an all-night set — they are the only artist on the bill for the entire night. There is no reason we couldn’t be doing more stuff like that in SF, I think people would be into it. And I don’t just mean visiting artists, we have many local SF artists I’d love to see playing extended sets too. I think one hour isn’t long enough for a DJ to fully make their mark, and for them to really take listeners on a journey. As a music lover myself, I find it really hard to whittle everything I like down into a small slice. I’d imagine it’s the same for a DJ trying to fit into one hour. These extended sets that start off with more chill music for the first part, then morph into full-on party music over the course of the night give DJs the opportunity to cover a wide variety of sounds. We’ve had a couple instances of that, like a party where Dan Bell played an 8-hour set (which was a really amazing night), and I would love to see that happening more often.


:: FWD.DJ Podcast

On the murky, overcast, mellow tip...

 This is a podcast I made for FWD.DJ in the middle of a San Francisco wintertime monsoon. Sort of a meeting of old vs. new, it is a taste of some new live material, but there is also music I wrote many moons ago while living in Boston that I never made public until now. A bit brief, but there's more where that came from. Hope you enjoy.

FWD.DJ Podcast by Christina Chatfield

On another topic, lately I've been thinking about new gear I should acquire (don't we all) and one of the items that has caught my eye is the new Eventide Space pedal. I'm pretty sure I want - or need - one, especially after seeing this demo from sound design guru Richard Devine. Many times when I see "official" demos of gear, I find myself to be rather underwhelmed. They often seem a bit vanilla and like they are only just scratching the surface of what's actually possible. Richard Devine on the other hand, knows how to get weird and doesn't hold back from showing it when he demos something. If the goal is for me to want to buy every single piece of gear he touches, then mission accomplished. Behold and imagine the dubby, spaced out, shoegazey possibilities!

Eventide Space - Sneak Peak from Richard Devine on Vimeo.