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Phon.o delivers a beguiling mix for Newtype Rhythms

The latest episode of our sister mix series returns this week; brimming with an exuberant narrative guest mix from an artist that has delved into the many strains of bass mutations — the man simply known as Phon.o.

The man with the dot in his name and the dubby background has let his love for sub-frequencies be known in the last decade-plus; releasing on notable labels such as 50 WEAPONS, BPitch Control, Shitkatapult and Tectonic — just to name a few. However, Phon.o’s expansive tinkering within the low-end is something that has given him an advantage as a producer — building bridges between the sonic communities of the UK and Germany by crafting unique bits of bass that collectively make dancefloor impacts despite their influences.

With every release he evolves, and that’s more of the same with his latest EP, entitled ‘Get Over It‘ – out now on Ideal Europa. So when we heard that he was going to contribute a mix to Newtype Rhythms, we took a few minutes to chat with him about his decisiveness towards his creative process, what the future holds and how he put together the aforementioned guest mix — which starts at 45 minutes in. As usual, resident Sheepshead warms things up with some sub-bass variations.

Interview by Mitch Strashnov

Phono Get Over It

"I really don't like people who kinda "design" their music
towards this "label trademarks" and honestly I really don't
like labels going just one style anyway"

Congratulations on the new EP — it’s a brilliant progression of the expanse that you occupy so gracefully — you have been comfortably nestled between various strains of bass music for nearly two decades now, how do you find time to stay fresh between sounds that are evolving so fast?

Well, I guess there are three reasons — first, I was never really interested in what is/was hot or not. If you’re going to play this game, you will become a whore of the industry that always needs new stuff for their sales and gigs and such.

For me, music is too important to treat it like this. Secondly, I am quite slow at producing; so even if I would be into the trendy stuff, I wouldn’t be able to follow it. Last but not least, I think the socialisation of my music taste made me love and combine different genres so much. I can’t stay true to one single style.

Were there any specific influences when it came to the creation of Get Over It?

When I make club tracks I always try to create music that I can’t find. This ends up in a blend of different styles, ideas, sounds and groove aesthetics. All of this happens in a quite easy-going and not-really thoughtful way.

Your elasticity within your production style has lead you to release for a veritable number of labels (50 WEAPONS, BPitch, Tectonic and more) – when you’re making tracks, are you making them with labels in mind or are you just coming up with ideas during that moment and riding with it?

I always create music first and start thinking about where I should and can release later on. It’s important to eliminate all unnecessary thoughts while being creative — I really don’t like people who kinda “design” their music towards this “label trademarks” and honestly I really don’t like labels going just one style anyway, except when there is a reasonable conceptional aspect towards their release plans.

You’ve been involved with Cold and Tectonic Recordings in years past — what drew you to working with labels that housed these strains of UK bass, echoing the past eras of dubstep and grime?

These were mostly pure gut decisions; I finished the songs and thought “OK, where could I send them?” So I thought about my favourite labels and if it could fit somehow. I wrote a mail to Rob (aka Pinch) and fortunately he came back to me very quickly.

I did not know him personally before, so I was pretty damn happy when his reply got in! What I like about these labels is, it’s honest, cool music that creates and spreads these unique vibes. Yeah, it’s nerdy, but that’s a compliment towards what it achieves.

I am also really looking forward to working with the new utopian label ‘Ideal Europa’. There will be very interesting stuff as well; all for a better future.

What’s does Phon.o have in store for the rest of 2019?

Well, I am working on different songs and collaborations at the moment, hopefully I will be able to finish an album this year. As I mentioned before I will collect first and decide if I will do an album out of my songs or 3 different EPs or so. But one thing is clear: there will be more music from me in 2019.

Finally, tell us about this mix you’ve done for Newtype Rhythms.

I love this mix series because it gives you the freedom to play all the cool, not-necessarily straightforward, 4/4-stuff. So I started quite mellow, but still groovy in my eyes and pushed it towards the end, always in mind I would stay within the thought of a club with the perfect, open-minded crowd. It was really fun making this one; thanks for this!


00:00 – 44:54 – mixed by Sheepshead

01. Yoshio Ojima – Entomology (Misfortune)
02. Synkro – Realize
03. DJ T. & Thomas Schumacher – Pariah
04. Cooly G – Narst
05. NKC – Honest Drums
06. DJ Gregory & Sidney Samson – Dama s Salon (Main Mix)
07. Syn & Tension – Demon
08. Blawan – Lavender
09. Kowton – H-Street
10. Lil Silva – Seasons
11. Randomer – Fun In The Sun
12. Deadbeat – Mercy Cage
13. Ryan James Ford – Dames Shmedt

45:15 – END – mixed by Phon.o

01. Electric Indigo – 4.31 Hz
02. Cubenx – Hercynia
03. Substance – Countdown
04. Gacha Bakradze – Daraji
05. Cell Out – Oblong Room
06. 524F53 – You Should
07. Phon.o – Back To Black
08. Off The Meds – Belter
09. Skee Mask – Dial
10. Facta – Poliwhirl
11. Phon.o – Overtake Without Catching Up
12. Ploy – Garys
13. Lag – Stari Grad

Discover more about Phon.o on Inverted Audio.