2000F AKA Obeah Interview | Dubstep
2000F AKA Obeah, is a producer, DJ, and events organiser/promoter from Denmark. A member of the OHOI! crew, 2000F has become one of Denmark’s leading DJ’s as well as a foreign producer that has influenced London’s sound.
In the interview we talk about the usual; musical influences, time spent in London and forthcoming projects, but the cultured 2000F also wanted to go into Afro-Caribbean belief systems and urban geography?
The name 2000F, what does it mean?
It’s the area code of Frederiksberg in Copenhagen, Denmark. It’s where I was born, raised and still live.
How did you come up with your other alias Obeah?
I have been listening to Jamaican music for years, but also a lot of Caribbean music in general. I went to Cuba a few years back and really got into the many different aspects of Afro-Caribbean belief systems. I’ve been reading a lot about the subject, and am very interested in e.g. Palo Monte, Vodou, Santeria and Obeah. Obeah is the Afro-Jamaican system, though it’s not directly linked to the e.g. Cuban or Haitian systems. But some overall similarities exist, and I find it interesting to read about these systems of belief. I chose the Obeah moniker even though I don’t have any Jamaican or African relatives. However, I did a series of Dubstep releases that incorporated a lot of Jamaican influences, including my first on Kraken Recordings.
I have had many other aliases too, including Grand Danois, Rolando Posen and 2000F but also as part of the Bass Snatchers and the Jazz/Funk groups Orgel Kvintetten and Queen Eve & The Kings.
What music did you listen to when you were growing up?
A lot of different stuff. Very early on my parents gave me a turntable with some records of my own, so I wouldn’t destroy their turntable and record collection.
My mother was a DJ playing rock, soul etc. when she met my father. He was playing in bands, working in studios, as well as collecting records and musical instruments. At one time their dinner table consisted of a huge sub woofer. Anyway, I remember growing up to the sounds of my father’s Kraftwerk, Talking Heads, Art of Noise, Steely Dan, James Brown, and Bob Marley records. I also listened to a lot of Electric Boogie tapes and records, which they bought for me. Last year I seriously started collecting 80’s Boogie Funk records, and suddenly realised how many of those tunes I had listened to when I was younger on the tapes and compilations they had bought for me.
How have you evolved musically since?
Well, I started playing the drums, the piano and the vibraphone in first grade. I played Latin percussion later on, but never fell totally in love with “normal” live music as in rock, pop, jazz etc. Even though I went on to be taught it for many years, I really wanted to work with samplers, synthesizers and sequencers.
One particular occasion changed the musical path I was to follow, in 1986/87 my father brought home an E-mu sampler. I don’t think I really understood what it was about, until he sampled my mother calling out “dinner is served”. I realised that this machine could do what I heard on the Art of Noise and Kraftwerk (Electric Café album) records. He brought home a lot of gear, including an Atari computer, some old analogue synthesizers and some drum machines.
When I turned 14 or 15 my parents gave me a Korg M1R and a small four-track cassette recorder. I tried to do some work on those machines, and I think I still got some early cassette tapes with these recordings.
My grandmother gave me some money for this birthday too – money I think my parents would have liked me to keep in the bank, however, suddenly I could buy a 303, a 909 and many others synths, including a Moog Prodigy, a Yamaha DX100, a Korg EX-800 and more. I have since then been collecting synthesizers, drum machines and pro studio gear, and my father and I have a HUGE HUGE HUGE collection now. When I turned 18 they bought me a newer E-mu sampler of my own, and I could step up my productions. They told me I could choose between a driver’s license or a sampler, and I happily chose the latter. I am still happy to this day about this choice.
Musically all this gear changed my musical direction, and the music I did was electronic, starting out with early UK Hardcore and Techno and the like in 1991 or so. I did this with some mates of mine, but never released anything until the mid/late 1990s – some Jungle/DnB stuff. However, I worked at the Radio Jazz in Copenhagen for some years, and this shaped my interest in this direction too. With my mate Dreskiboogie I released a 7” on Melting Pot Music (as Queen Eve & The Kings) and was featured on a Acid Jazz Records compilation (as Orgel Kvintetten). I’d like to do more of this to be honest.
I reckon that these diverse musical influences have shaped and still shape the music I do today.
You studied for some time in London, what were your fondest memories of our city?
I studied in Islington for a year, 1999-2000, as an audio engineer. At that time I had split the D’n'B scene, which I had followed since the early start in around 1991 with Breakbeat House and later on UK Hardcore, Jungle etc. In London 1999 I heard what I knew was called 2-step/UK Garage, but of which I knew nothing. I remember turning my head on a London street when this huge black jeep with neon lights beneath it went past. On the massive car stereo proper dark UKG was pumping, and I got hooked. I bought some mix CDs, and started listening intensively.
What UKG did to me in 1999 was what early UK Hardcore etc. did to me in around 1991. I reckon it is something unique to London music. A fusion of whatever music is blasting on the pirate airwaves. Bringing whatever music you like into the scene. Add a beat and a bassline, and off you go. The UKG I started listening to had all the different elements as did what was later on to become known as D’n'B, fusing reggae/dancehall, dub, funk, r’n’b, hip-hop, jazz etc. with the beats and basslines of the London clubs, radios and raves. This melting pot idea goes all the way back to the arrival of US Acid House in London in the late 80s. Quickly the UK (or at least London) adopted the foreign sounds and fused it with what they liked. Especially the sound system and carnival culture and music, brought to the UK by the Caribbean immigrants, have had a huge impact on the London music I listen to.
I have always loved the “London Sound” what ever it was called. I think the city has contributed with more unique music and genres than most cities in the World. What I miss is not being on the streets of London everyday or at home listening to pirate radio stations. I miss the feeling of being part of a city where new musical ideas and styles evolve almost every week.
What do you not miss about London?
Well, to be honest – nothing! However, I must admit that the gang thing is something I do not miss, especially at dances and raves.
How big is Dubstep, Grime and Drum and Bass in Denmark?
Dubstep is HUGE! D’n'B and Grime isn’t that big to be honest. Neither is UKG or Funky House. Dubstep has been on the way for years, and last year or so it seemed like tons of DJs started promoting and spinning Dubstep, which is wicked. This competition has forced me to step up my game even further, so I now do even more work on getting exclusives, dubs and specials.
What type of music is the most popular in Denmark? How do you like it?
Hip Hop is big of course, and I rate Suspekt and the FIP crew highly. Big tings! But in general I’m not to keen on regular pop and record releases, whether they are Danish or not. I have worked for four years in one of the biggest studios in Denmark, and I reckon I heard enough rock and pop in that period. *laughs*
If we come over to Denmark where will we find the best party?
In Copenhagen, anything promoted by the OHOI! crew!!! That’s it.
Tell us about the OHOI! crew you are part of, how many people are involved?
OHOI! is a crew of four, started in 2002: Tim Driver, JSL, Kristobal and myself.
We promote (mainly) UK music, whether it’s called UKG, Dubstep, Grime, Bashment, D’n'B, Jungle etc. Everything with heavy amounts of bass! We promote, DJ, release records, remix, run Kraken Recordings etc.
OHOI! does the biggest and most well known raves in Denmark, and we have been pioneering the bass culture thing; a lot of people now want to do the same kind of dances featuring big bass-heavy sound systems, Dubstep music etc. But we are still no.1, I reckon. We set the standard for the others to follow, and this is by far our main goal: Continue to push the standard, only focusing on the very best of the best whether it’s related to label work, promotion of club nights and raves or DJ sets.
We do our OHOI! nights which include D’n'B, Grime and Dubstep, but also work with others when we, for example, organise the official Danish Sound Clash Championships (for Reggae/Dancehall sounds) or organise RAW, which is sort of the standard of big scale raves in Scandinavia, featuring more than 50 artists, seven arenas of music and 7000 ravers.
The Summer and Autumn of 2009 will be HEAVY with lot’s of unique OHOI! events, releases and shows.
Who or what would you say influences your productions the most?
I don’t think I will be able to narrow it down – too many to mention. Influences can be a certain sound, a loop, a specific synthesizer or drum machine or even just the “vibe” of a certain tune.
Which producers do you respect the most?
I have listened and still listen to many different styles of music, so I won’t be able to mention all the producers I respect and admire. However, if I am to mention a few it would be: The Mizell Brothers of the mid 1970s, the holy dub music Trinity (Tubby, Jammy and especially Scientist), James Brown, Allen Toussaint, Matt Cooper and Andreas Allen of Outside, Mala of DMZ, Silkie and Quest of the Antisocial Entertainment camp, early Zed Bias, D’n’D/Menta, Liam Howlett of The Prodigy, Wiley, early Oris Jay, Skream, Benga, early El-B and of course JSL, JKamata and Even of the Danish crew.
Who would you really like to collaborate with in the future?
I’d like to do some work with 80’s Boogie vocalists. This could be for the 2000F & JKamata project. I’d also like to work with dub masters like Scientist… I’ve already got the link, so hopefully one day…
What are your plans for 2009?
Well, regarding Scientist – I actually got a big project on the way. More info will follow, but it will be a special kind of master class about bass culture. I’m still working on all the details, but the weekend of October 10th-11th is the date… info will follow.
In July we will be hosting the OHOI! seven years birthday, and August will be massive: August 1st we will be doing the RAW event, the week after we might be doing a dance during the CPH Fashion Week. Then after that I’m partly organising the big, official Copenhagen festival for electronic music, called Strøm. This features a week of electronic music, over 20.000 participants, and I’m hosting three unique events: An outdoor roller skate disco on August 15th and then again a big OHOI! Dubstep dance on the evening of August 15th. On August 11th, I’m organising a very unique musical experience with JKamata. Electronic music in the metro trains of Copenhagen – for the first time ever! Late August will see me at the Notting Hill Carnival, and also co-promoting a big Dubstep night with Skream, Benga and OHOI! in Århus, the second-biggest city of Denmark. Then more OHOI! raves for October, November and December.
Regarding Kraken Recordings, we have KRKN009 and KRKN010 on the way, release info will follow on KrakenRecordings.dk.
I will also release some collabs with Sukh Knight and hopefully some more music with JKamata. If I can find the time, I’d like to do a few releases on my own, but currently the calendar is really full.
Where do you want to be in 10 years time?
In the studio and at the dance working hard, pushing the bass culture of Copenhagen to new levels!
Tell us something that our readers may not know about you.
I will soon be writing my master thesis on urban geography, including a focus on city planning and development. I’m going to study these subjects in Moss Side and other places in Manchester for two weeks this coming summer in June/July.
