The very much in demand Dutch producer and DJ Eversines steps up for our 116th Phonica mix with over an hour of his own productions!
If you are just getting on the Eversines train you have missed quite alot of stops but its not too late to catch up. Having released on a wide range of labels like Slow Life, Nous’Klaer Audio and the label he co run’s De Lichting; Eversine’s (real name Remco Hazewinkel) has been considered an array of styles spanning techy, euphoric and ambient variations of house. These diverse styles has been showcased into his sets; ambient, deepness alongside pulsating acidy bass into pumping driven moments that have caused a sweat at huge clubs and festivals like the recently closed De School and the famous Dekmantel. We are delighted to have Remco added to our long running mix series with over an hour of his own productions from start to finish. We had a brief chat with him about the mix below and what he has coming up in the near future. This is Phonica Mix 116 – Eversines.
Hey Remco, thanks for joining us! Can you tell us about your mix and what the idea behind it was?
Thank you for having me!
It can take quite a while before music gets released into the world, so I wanted to do a mix consisting only of my own works. The last time I’d done a mix like this was about 3,5 years ago, so I figured it would also be interesting to find out how my sound has changed over time. I tend not to play my own tracks in my dj sets that much, so this felt like a great opportunity to showcase them.
Can you tell us a bit about how you usually approach recording a mix or a set?
Personally I feel It’s a whole different ball game than playing to a crowd, for me it involves a lot of experimenting of transitions, track orders, killing darlings, whereas playing a dj set in a club I rely more on spontaneous reaction and improvisation, feeling the vibe of the audience and what directions you can take people.
What are your preferred methods for finding new music—do you still enjoy digging around in dusty crates, or do you prefer to buy online?
I do enjoy both a lot, a physical shop obviously has the upside of finding blinds and other obscurities, not to mention the vibe and meeting other passionate nerds. But digging in the controlled environment of Discogs, with speakers or a pair of headphones of your choosing… I feel that yields me the best results / least amount of mis-buys. So I guess I try to use all avenues that lead me to the right tunes.
In terms of your productions you touch on several different styles, how do you approach ideas? Do you base it on the label you are working with?
Yes, however that’s usually in the selection phase, after the music already has been written and produced. When I start making music I try to think as little as possible about any end result that I’m expecting of it, not that I always succeed but avoiding concepts usually makes way for my creativity to flow.
Of course which tracks I tend to send to a label is highly dependent on the sound I associate them with. But it’s also (usually) a process that you do together, curating an EP. In the best of cases I feel like you hear a distinct signature of the artist and the label simultaneously on one and the same release.
What is your dream setting for a DJ set?
It’s kind of hard to say, so many different settings can become magical under the right circumstances. A sweaty basement with classy lighting, a room with windows during sunrise, but if to really choose one thing:
A long morning set in nature with dedicated and open minded listeners. Playing before or after dearest friends, or artists that I admire (most of my best friends are artists that I admire, so 2 for 1!)
What do you have up your sleeve for 2024?
My new label “Jamming Is Life” will have been announced by the time of this interview, after a lot of under the radar efforts. With four tracks that I felt really stood out in my batch of last year’s produced tracks, and I can’t wait to put out more, also featuring some upcoming music produced by the people closest to me. There’s a few other EPs coming up on other labels too, but more on that when it’s ready.
My digging, live set and studio production process are constantly undergoing change and evolution, which is probably a good thing. It’s hard to balance it all, but I enjoy the process of improving a little bit by bit 🙂
