Captain Hook

A short interview with Captain Hook

Progressive in a class of its own.

High-octane grooves, dynamic changes in tempo, quotes from Dubstep to Electro, state-of-the-art production quality Captain Hook has it all. Re-inventing the original idea of Progressive, he’s currently one of the most exciting producers of our scene.

You’ve made music as Quantize in the past. What is the difference between working alone and having a project partner?
The difference when you’re working with another person is mainly the compromise: Sound, structure, melody, and basically the essence of the song. Don’t get me wrong, I love to collaborate, but I also cherish the private moments I have in the studio, it’s when you’re 100% into it and letting yourself go with the music.

When working alone you can give yourself more time, add more depth to the massage you want to deliver to the ear of the listener, create a psychedelic experience that has your signature on it, that basically represents you as a human being. Don’t get me wrong, I love to cooperate, but I also cherish the private moments I have in the studio. These moments are priceless, it’s when you’re 100% into it and let yourself go into the music.

We heard that there’s a remix album in the making. What can you tell us about it?
There’s a double remix album in the making, I’m actually super stoked about it since the range of producers is so wide, from Psy Chill Out to Glitch Hop to Dubstep to the other side of the grid that stands for Electro House, Progressive House, and Progressive Trance.

Some of the producers are: Gaudi, Darth & Vader, ill.Gates, Perfect Stranger, Phony Orphants, Ace Ventura & Zen Mechanics, as well as the promising new act Coming Soon, also you can expect two fresh remixes from me on Perfect Stranger and Sub 6.

How did your way of producing music change over the years?
The main change was ‘less is more’. Instead of producing a song with 50 channels I try to work with 15 these days, giving each sound the attention and design it needs, inserting 3 sick automations instead of writing 3 lines. I’m a minimal fan, always have been, from the days of Interzone and the first Iboga releases.

After I reached the point where I can send my message to the audience, to deliver the sound just as I feel, I must say that the next step will be moving my entire production to Ableton. Producing the song ‘Open Your Eyes ‘ with ill.Gates last year totally changed the way I see production and understand computing: It’s such an advanced software, the options and possibilities are almost limitless. I worked with Cubase for the last 9 years (originally started with Fruity Loops ) which is designed by software engineers, whereas Ableton was designed by musicians…which basically sums it up for me!

It became also very important for me to work in a proper studio with a proper sound system and a proper sound card, since I like giving to my songs that 40 Hz sub layer…I can’t do it in any other way than having proper acoustic treatment, a fat sound system. I use the Blue Sky satellite MK II 6.5′( 7.1 THX surround sound option ) with a 12’ subwoofer, which delivers 600 watts in total, pretty sick! And RME soundcard for the analog / digital converters.

You’ve been signed on Iboga Records since 2009, obviously you are very content with this label…
It’s great working with Iboga! Since I started working solo they’re a family to me, Banel & Emok are doing so much for the label artists, be it support with compilations, remix albums, key connections to other scenes or fun and fresh after-festival label parties…one of the sickest I have ever played was at Arial Da Juda, Brazil, after Universo Paralelo 2011 at the Magnolia beach club!

I actually just got a phone call from Emok the other day asking me if I want to join him and the crew for a catamaran sailing trip in Australia around the Eclipse time! So I couldn’t think of any other label to work with for the Captain Hook project, after the 1st album I released as Quantize back in 2009 it was so natural for me to keep this great relations with them, the name Iboga is a respectful name, opens a lot of doors wherever you go and it got a heavy weight in the psychedelic oriented festivals scene.

You play all over the world. Where do you find the parties and crowd most enjoyable?
Well…the most respectful place for artists I have played at is Australia. People are so down to earth and have time for a chat and a hang out, they’re kind and understand music from Bass to 4/4. Rainbow Serpent 2012 was off the hook, I had so much fun Djing there! It’s the opposite of the ‘fast food’ feeling you get when DJing at commercial festivals- whoever played at the big commercial festivals will get my drift.

Also I can say the most loving dance floors I have ever played at were in Brazil and Mexico, people there have the urge to be fans, to be actually groupies of an act, which is great! Cant really get that feeling anywhere else I have played, although Israel starts getting to that level of commercialism, since 4/4 Trance music became so mainstream in the last season, people have the need to support their acts, to take pictures, to support on Facebook and festivals…which is great !

What’s up next from Captain Hook?
I have a double compilation on the stocks, which takes time to compile since I want to find 18 songs I love and want to support under my name. Tour-wise: I’m answering these questions on the flight to my 1st summer festival, Fusion, then flying directly to Turkey for Tree Of Life, then Brazil for three weekends (gonna play at Tribe 11th edition in Sao Paulo which is one of the biggest festivals i have ever played, 30,000 people!), then Mexico, Boom, Ozora, Brazil again, and the grand finale: Burning Man Festival, USA. Have a great summer everyone, lots of love – See you around!

Have a great summer everyone, lots of love!

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