Joris Voorn has music sewn into his DNA. Born into a musical family in Holland’s Rotterdam, Joris became involved with music from an early age. But it was electronic music that gripped him in the mid 1990s, pushing him to become a DJ/producer. Joris has never looked back since and is now regarded as one of Europe’s finest acts. Following on from a stella 2009, which saw him receive praise from clubbers and critics alike through a series of remarkable releases and DJ performances, he looks set to build on his lofty reputation throughout 2010.
With summer now fast approaching, Joris makes a very welcome return to fabric this coming Saturday. As he prepares to send Room Two into overdrive, we sat down to chat with the Dutchman to discuss the year just gone, festivals and the role that art has to play within music.
2009 was massive for you. Balance014 and "Sweep the Floor" were both hugely popular, not to mention your 'Best Breakthrough' Ibiza award and lofty placements in RA's end of year polls. Does their success put added pressure on you for the forthcoming year?
Uhm...it's ok I believe...I don't feel too much presure, maybe just some healthy excitement. I've been a breaking thru newcomer for the last 6 years, new people discovering me every year, so I feel I'm always fresh - haha! But because it's a gradual evolution, I can easily deal with it. I've had my 6 years of practice every single weekend - you build a steady confidence this way.
The 2010 Ibiza season is fast approaching. Will that be a focus for you again this year?
One of the focus points is Ibiza indeed, next to the countless festivals and club nights. I'm working on a few key tracks and remixes at the moment, that will take an important place in my DJ sets the coming season...
How difficult is it juggling your duties as a producer and a label owner during these summer months, when you are so busy with live dates and festivals etc?
I'm not planning any new projects or remixes during the summer, I don't feel like having to deal with any deadlines in-between the heavy travelling. The label work is done mostly by Edwin Oosterwal, I'm more focussing on communication with the artists about the music.
What festivals are you particularly looking forward to this year?
Creamfields in Australia will be great for sure, that's 4 gigs in total. Melt in Germany is supposed to be great, Dissonanze in Rome, Global Gathering and Creamfields in the UK, just to name a few.
Do you notice your style of DJing beginning to change as the festival season approaches?
At festivals you can't play as deep as in small clubs, so those sets are more energetic and maybe a little easier, but when I'm in a club, I try to do what's good for that specific moment. It's also refreshing to play a little deeper and try out different things in small clubs.
What is your favourite thing about playing in London?
It's a metropolitan city, and you feel it in the clubs! fabric is always full and has a great energy, so many people from so many different places go ther to get a taste of London's great underground clubscene.
What are you looking forward to about playing at fabric on Saturday?
I love the way fabric handles their artists, it's at a very personal level. The lineups are always high quality, with a lot of space for real underground artists. And the nice dinner before the night with all these artists and Judy from fabric makes it feel like a family happening, which sets a great mood for the rest of the night!
Will you be preparing for your gig here any differently? Does playing in Room Two affect your preparation, for instance?
Not really.. I just go in and see what's going on, who plays what before me, and just try to be spontaneous.
You went to Art school in Holland. What do you think that music can offer you that art can't? And visa versa?
Music speaks to you in a very intimate way, it's one of the most direct ways of experiencing art, it touches you instantly. You don't have to think when listening to music..
How important a role do you think art can play within music? Do you think it's role is becoming less and less important in this digital age?
It's just as important as it's always been for me, maybe even more, as now we also have multimedia to go with a musical release. For my own labels Green and Rejected artwork is essential. We make our own photo's or ask others to make them for us, we have a great graphic designer to do the actual design. For Green we even print full colour sleeves, eventhough there's not much money to be made by selling these records. I play with Traktor on my laptop, and every song has it's artwork, I browse thru my collection looking at artwork instead of the artist and trackname.
Would you say that electronic music has as much artistic value as genres such as jazz and soul music? Why do you think this is?
No, I don't think so.. Of course there's great inventive electronic music, but many times it's functional and serves the purpose of dancing to it. However it can really touch people and have great emotional value, even when it's just a beat and a simple melody, it triggers something that other music simply can't. Jazz, soul, classical.. it's all written and performed by trained musicians, where as everybody can make electronic music. Luckily this results sometimes in very inventive music, or mistakes that turn out to be amazing.