Features

With a new concept album The Architect to promote, Rob Swift is heading down-under for his first solo tour of Australia. ACCLAIM spoke to the legendary DJ about his new album, his approach to making music and the forthcoming tour.

I don't need a rapper, the media or anyone for that matter to validate the energy I put into this.

Tell us about the new album Rob? Would you define it is a turntablist record?

My new album is titled The Architect. It's my interpretation of what scratch music would sound like if Mozart and Beethovan were alive today using the turntable as a tool to express themselves. I wouldn't necessarily say it's a turntablist record. It's a composer's record. I would discourage anyone from listening to the album in pieces. I structured the album in movements so each song works together to form a whole. I wanted listening to the album to be more of an experience for people opposed to a collection of battle break sounds being scratched over a beat.

Working with classical music for The Architect is likely to appeal to an audience beyond hip-hop traditionalists, was this the intention when you started making it? 

Although the turntable is the driving force behind all of the compositions on this album my goal on The Architect wasn't to show off how fast I can scratch or my ability to execute a triple click flare [laughs]. On the contrary, my intentions on this album are to reach a fan base that goes beyond the Turntablist audience. So I made it a point to scratch in ways that aren't as obvious. What I mean is, many of the cutting and scratching on The Architect were executed in a subtle way. So subtle that some parts may actually sound like samples and not scratches. This is because I stayed away from the redundant "Ahhh" and "Fresh" type of sounds you typically hear DJs scratch and gravitated more towards classical instruments like the violin, trombone, cymbals, etc.  

A couple of the spots you’re playing at while in Aus are commercial hip-hop and R&B nights while others will draw underground heads, how do you switch your sets up (if at all) to cater to different kinds of crowds?

I really appreciate this question. Being well rounded is the strongest attribute any DJ can have. Audiences can differ depending on the region of the world, country or city you're playing in. The question you raise is a perfect example. I'll be playing a variety of types of clubs during my tour of Australia. Some venues might contain an even split of underground and commercial hip-hop heads. Other venues will have a little more of one than the other. For this reason being well rounded is important.

As a DJ you have to be very adaptable. You can't expect to hold the attention of an audience that wants to see technical skills like "beat juggling" or "scratching" if you're only capable of "party rocking". Likewise, the best scratcher in the world will clear the dance floor in the blink of an eye if he/she doesn't understand how to tone it down and get people dancing. Thus, I have a variety of sets up my sleeve at all times. Here's where software like Serato Scratch Live really come in handy.

I build different sets of varying lengths at home, then I create folders for each of these sets in my Serato. One folder may be "Classic Hip Hop" which will cater to both the crowd that wants to dance and the audience that wants to see me cut up their favourite hip-hop songs. Another folder will be called "Showcase Set" for those that want to see me perform the classic routines I'm known for. While my "Party Rocking" folder might be geared towards those that may not necessarily be there to watch me show off and instead want to hear good music that will get them dancing. As a DJ, you have to know when to check your ego and give the audience what they want. Therefore, I'm not worried about having to switch my sets from night to night. Either way, I'll have fun behind the turntables! 

Will this show be entirely about showcasing The Architect or will you be spinning other records also?

I'm gonna mix it up. My audience will dictate to me the type of musical journey they'll be ready to go on. 

Breeze Evahflowin appears to be the only MC to guest on this record. Why did you choose to work with him alone in this capacity? 

I know a lot of MCs and no disrespect to any of them, Breez was the one I was most confident would be able to convey the overall concept of The Architect lyrically. Breez is my favourite MC. He's the perfect mixture of ying and yang. There's an incredible patience in his voice but extreme force behind his words! I'm blessed to have had the opportunity to work with him again on my album. Another reason why I decided to work with Breez alone is because I wanted to make a conscious effort not to saturate the album with different MCs. I wanted the focal point of The Architect to be the turntable and for that I only needed one man, Breez Evahflowin. "Less is more" as they say!

Your bio states that you were introduced to classical music in 2008, was there a particular person or incident that opened your ears to the genre? 

Back in June of 2008, my girlfriend introduced me to the genre for the first time. She and I have very different musical backgrounds. As a result, we have introduced each other to many kinds of music over the years. Although, I've heard classical music in the past, I think my heart and mind were ready to embrace the genre on the specific day my girlfriend sat me down to listen to Prelude #4 by Frederic Chopin. I was hooked from that moment on.

Has the label deal with Ipecac provided you with any kind of unique opportunity that is only possible through the involvement of Mike Patton? 

Ipecac Recordings has been amazing throughout this entire process. They believed in the concept of The Architect and they believed in my ability to effectively get it across.  Big shouts to Mike Patton, Greg Werckman and Shawn Vezinaw for investing their time and energy into my album. If it weren't for them, I wouldn't be discussing the release of it with you now!

With so much of your life taken up with touring, is there a particular tour experience that stands out as your highlight?

Most recently I toured Europe for 10 days. I visited various countries but Athens, Greece and Beirut, Lebanon stood out the most. The minute I stepped off the plane, in both countries, an overwhelming feeling came over me. It's as if, my existence on this planet of ours was put into perspective. Beirut and Athens have been around for centuries and standing next to ancient ruins really helped me realize how old our planet is. That being said, I look forward to making new memories in Australia!

Are there any performances in your career that you wish you never did? If so, why?

Honestly, I appreciate all of the performances I've had in my career. Even the bad ones. More so the bad ones when I think about it. I say that because the bad experiences I've had on stage always made me a better DJ. It's easy to walk off stage feeling confident after a good night, but the true test of humility in a DJ is being able to walk off stage after a bad night, still appreciative of the opportunity to rock a crowd with music!

Who is your favourite artist to watch performing live?

I'd have to take it back and say Jimi Hendrix!

Obviously the unexpected passing of Roc Raida must have been a great shock to yourself and the other former members of X-Ecutioners. Before his passing was there any chance of a reunion at all and is it a possibility that the other crew members will reunite again in the future?

Actually, Raida inspired an X-ecutioners reunion tour of Australia 1 1/2 years ago. It was incredible. Sharing the stage with the X really felt like old times. We managed to do a couple of reunion shows here in NYC as well. As for another reunion in the future, time will tell.

What album gets the most frequent rotation by you at the moment?

THE ARCHITECT!

If you could collaborate live with any classical musician alive today who would it be?

Wow, that's an easy one. Jonny Greenwood! He wrote the score to one of my favourite films of all time There Will Be Blood. Here's a little fact for ya'll, The Architect was inspired by many of the sounds in this movie. 

Your previous work with Jazz opened doors for you to perform as the first turntablist at the Georgia Jazz Festival, have there been any similar opportunities within the classical sphere off the back of this record?

Not yet, but I pray some "classical" doors will open. I'm ready to take my music to new levels!

How do you feel that turntablists are perceived by the hip-hop world these days 

The true answer is Turntablists aren't perceived. Don't get me wrong, there's some underground hip-hop artists out there (honourable mention to Breez Evahflowin, Metermaids, Braille) who do seek out DJs like myself to collaborate with. But the majority of artists, mainly the ones with commercial success couldn't care less about highlighting their DJs in the studio or on stage. It's a shame because DJs started hip-hop. I'll never let that stop me though. I don't DJ because it's popular. I'm not a Turntablist because of the millions of dollars scratching generates [laughs]. I do this because I love the art form. I don't need a rapper, the media or anyone for that matter to validate the energy I put into this. It's self gratifying!  When the fame is gone, I'll still be cutting it up in my bedroom!

Thanks Rob. 

Thank you!

The Architect is out now via Ipeca Records. For more on Rob Swift visit djrobswift.com. For more on Rob's relentless touring duties visit his Myspace.