Naysayer + Gilsun, aka Luke Neher and Sam Gill, step up to the plate with a heavy club fix that encapsulates how the Melbourne duo achieved local hero status, having played Boiler Room and alongside Jamie XX.
The set is built around their two original productions All That Good Work and Blue, which Club Mod packaged with Eliphino and John Roberts remixes and released to the world this week. Fill the void in your life and pick the EP up thru i-tunes and Beatport.
We had a chat to the guys about their multimedia DJ show NGTV and favourite films below.
Having first rose to prominence as DJs, when did production become part of the equation?
Gilsun: We've both experimented with various types of production since a reasonably early age, but have only really knuckled down and focused on working on original material together over the past couple of years. It's been a really great process figuring out our shared strengths and working through the weaknesses to hopefully arrive at something individual.
Naysayer: I think we have a solid workflow now. We work separately and come together regularly to amend critique and remix each others work. Our tracks achieve a stylistic cohesion through some sort of unconscious telepathic link we have.
What are some of the inspirations behind All The Good Work and Blue?
G: All That Good Work came out of an afternoon of playing with endless layers of sampled loops and attempting to build something quite rhythmically dense around recognisable 909 and 808 drum sounds. Really it came from a very deliberate shift to attempting a less over-thought approach to our hooks and synth sounds, too. I remember being pretty obsessed with the sounds in an Ifan Dafydd tune at the time. That combined with diving into a lot of MCDE-style sample heavy house really laid the foundations of what we wanted.
N: Blue was more of a scientific endeavour. It took months and before it was started it had almost been entirely pre-conceived how it would sound. After that it was a matter of putting in the time playing with synths and effects until the sound was realised. Hopefully it takes you somewhere.
Your audiovisual experience NGTV is only wheeled out selectively due to its high production. For those yet to see it, can you please give us a walkthrough?
N: The stage is taken up by a giant screen that doesn't really leave any room for us so we play diagonally off to the side. We use hire this $75,000 dollar projector to shine onto it. That aspect is important to us because we put so much time into making all our videos high definition and absolutely pristine. What we try to give people is like a DJ set with this weird, remixed filmic narrative over the top. It's not about using recognisable scenes. It's about teasing out of a film the content that really strikes a chord.
If you had the chance to direct your own film - who would star in it and why?
S: Michael Fassbender (because of just about everything he's ever done), Parker Posey (because of Louie) and Ben Gazzara circa The Killing of a Chinese Bookie (because few people have ever been that ice cold).
You've had a shit day at work and it's raining outside - what movie do you put on to cheer up?
G: For whatever reason, I used to watch O Brother Where Art Thou? every time I was freakishly depressed, anxious or unable to sleep as a teenager. I've subsequently seen the first twenty odd minutes of it dozens of times. It's not the best Coen Brothers film, but I've always thought it was fairly underrated and brilliant in its own way.
N: Scream or Scream 2. I'm not a serious horror geek but whenever I feel shit I decide that I am. Gale Weathers is uplifting.
What are your Top 5 film soundtracks?
G: O Brother, The Master, The Thing, Akira and anything written by Jon Brion.
N: I'll add The Virgin Suicides, Michael Clayton, and anything by Harry Gregson Williams. I know that's not five.
Prior to the Club Mod EP, you guys were releasing your own label Bossman Records. Tell us about the rest of the roster.
G: Bossman is mostly made up of releases made by old friends of ours, as well as people we've come to know through sharing ideas and feedback online. Though the primary roster is mostly Melbourne-based, we've managed to build a small base of collaborators and followers worldwide.
The last year or so has seen releases from artists like Shunya, Flight Tonight, Namine, ourselves and Victory Team. I'm really, really proud to have had the chance to support all of the releases, and hope the label can keep building into something larger - though it might be time to find a team of lovely interns to keep the schedule a little tighter than it is at the moment!
Fuck Buttons - Rough Steez (White Hot Heat Remix)
Mr. G - Dancefloor
Boddika - Soul What (Boddika Remix)
Four Tet - For These Times
Paranoid London With Mutado Pintado - Transmission 5
Peace Division - Backlight Sleaze (Gerd's Acid Sleaze Mix)
Naysayer + Gilsun - All That Good Work
Motor City Drum Ensemble - Raw Cuts #1
Hnny - Trummor
Acid Pauli - Gefallt Mir Nicht
Naysayer + Gilsun - Blue
Mousse T. - Horny (Thomas Gandy and Radio Slave Just 17 mix)
Orson Wells - Jungle Warrior
Larry Heard Presents Mr. White - The Sun Can't Compare
Anton Pieete - Cotton
Halogen - Bliss (DJ Hell 2013 Rework)
You Might Also Like...
Lucerna Music Bar, Prague, Czech Republic
Basen , Warsaw, Poland
Oakbank Racecourse , Oakbank, SA
Maitland Showground, Maitland, NSW
University of Canberra, Canberra, ACT
The Metro Theatre, Sydney, Australia
The Hi Fi, Melbourne, Australia
Prince of Wales Showground , Bendigo, VIC
Murray Sports Complex, Townsville, QLD
Sydney Entertainment Centre, Sydney, Australia
Brisbane Entertainment Centre, Brisbane, Australia
Capitol, Perth, Australia
Metro Theatre, Sydney, Australia
Rod Laver Arena , Melbourne, Australia
Coolangatta Hotel, Gold Coast, QLD
170 Russell , Melbourne, Australia
Hay Park , Bunbury, WA