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MENU Meets: Bulletproof

Legendary and multi-award winning Drum & Bass/Dubstep DJ/Producer BULLETPROOF released his new album ‘Dub Me Crazy’ on 19 September. It is available right now on iTunes. It features the hit single ‘Dub Me Crazy’ featuring the stunning Jessie G. We caught up with the man himself to have a good ol’ fashioned yarn...

MENU: What’s up man! How you doing? Had a chance to relax yet?

BLTPRF: Ha-ha, To be honest, I’ve been relaxing ever since I signed the album to EMI, so it’s time to kick her in the guts and get the ball rolling, been sinking my teeth into it!

MENU: For people that are new to Bulletproof, they wont know of the legacy of countless drum and bass and Dubstep hits. Tell us about the 10-year plus journey to get to a number 1 chart spot?

BLTPRF: Well, in a super brief nutshell, I started out as a bedroom raver and got my first set of decks in 94 when I moved to Auckland. I was strictly into jungle techno, which evolved into jungle, then drum n bass. I dabbled in a little production in 95, but as soon as people like Ed Rush, Optical, Nico, Trace, Fierce and Matrix’s music started making its way down these parts, I started listening to the production side of things a lot more until a spark was set off and I had to get involved in that side of the music. I knew that the ability to produce your own music, in a scene like drum and bass in those days, was a very powerful tool for making a name for yourself not just locally, but in the UK. It gave Josh (ex Bulletproof) and I the edge we needed to ensure those UK names would take notice. Those principles still apply today. Music and technology have come a long way, but fundamentally, the Bulletproof sound is still about the excitement and discovery of production and engineering of bass music, and two of the most important elements in music. Melody and funk.

MENU: You picked up the highly prestigious “Best Electronica Album of 2010” Award at the Vodafone NZ music awards last year, how was this for you and how has it encouraged your production?

BLTPRF: It was the highlight of my career. To have the recognition of your peers, and by peers I mean people who live and breathe music, from record label executives to the man behind the counter at the record store, to the musicians themselves. I like to think my music reached those people, and they really heard it. I guess it did, or I wouldn’t have this gigantic gold bottle opener called a tui sitting front and center in the studio I guess ha-ha. It was truly inspiring. 4 hours after the awards finished, I was at home, in fits of laughter, and sometimes almost tears of joy, sculpting a new beat for my next album, which has just come out.

MENU: Obviously with the new album getting such a great response, did you think during the US tour that it would blow up like it has?

BLTPRF: The very first time I played Dub Me Crazy in the states was in San Diego back in march. Id just been sent the master file and dropped it. The kids went absolutely nuts and the local DJ’s were chilling by the entrance of the booth to get a track ID. I think that was the first moment in the USA, when I realized I had a true crossover tune on my hands. Something that can bridge the gap between electronic and mainstream without going overboard on the cheese factor, and still maintaining that dance floor/club vibe.

MENU: On that tip, what were some of the highlights of the US tour? Don’t be afraid to give us some green room stories..

BLTPRF: Getting to meet up in different cities with my Girl, who was also on tour around the states at the time, was probably the main highlight. It dawned on us that here we were, both doing what we love, following our dreams and living out our passion for music, in a different country, and getting paid for it. It was awe-inspiring and we count ourselves extremely lucky to be able to do this job. Meeting up with old friends P Money and David Dallas in Austin Texas during SXSW was great too. Id been on a bit of a bender with the Austin Dubstep crew so it was nice to see some people I knew who’s main mission wasn’t to get me as lashed as humanly possible and take the piss out of my accent. Ha-ha.

MENU: A+ level NZ colabs are no new feat to you, and with Dub Me Crazy featuring the likes of, Tiki, Jessie G, Hollie Smith and Crushington who else did you eye up for these spots? Or who would you say you would like to work with locally? (If there is anyone left!).

BLTPRF: I didn’t set out to work with these people, it was a result of where I was situated, right place, right time. I lived pretty central while I was making soundtrack and DMC, so being in the mix of the Ponsonby creative’s was a real benefit. To be honest it’s a hard question, I don’t know who I want to work with next. My albums are always a track-by-track play-by-play situation. I try not to plan too much, and just let the music and vibe dictate my next move. If a tune needs vocals, I listen out for who would suit it. Simple as that.

MENU: During your travels you would’ve seen a scene rapidly changing across the world. What is your take on future Dubstep?

BLTPRF: No comment. That’s a can of worms I'd prefer to not get into as its long and boring and fuels the debate about how Dubstep is this and that. Its music, with bass, and that bass makes you move when you hear and feel it the way it’s supposed to be, loud. That’s all there is to know. Who cares where it’s going, its here now, and that’s all the really matters.

MENU: You’ve been involved in production for longer than any other successful artist in this scene in NZ. What would be words of warning, or advice, for a new budding producer with something he/she thinks is unique?

BLTPRF: That’s a big call. There are dance music producers out there who have been doing it a lot longer than me, and they’re true dons. If you’re talking strictly drum n bass / Dubstep, Less is more. Don’t rely on cheap sounding soft synths with presets every man and his dog are using, because you will just end up sounding like every man and his dog, and that’s probably why Thane Kirby hates Dubstep. New Zealanders have a unique ability to take what is current, run with it, adapt it, and mould it into a completely new sound, and its that kiwi know how and can do that is the most important thing you can posses when you set foot in the studio. It makes us, US!

MENU: Thanks heaps for your time Jay! Where to from here? Another NZ Music Award no doubt!

BLTPRF: You just jinxed it..thanks..ha-ha. I’m looking forward to touring man. That’s where I’m happiest. Playing shows. Right now though, I’m putting together the dub me crazy soundsystem for December 16 at studio. The show will feature a soon to be announced selection of vocalists performing tracks I’ve made with them or remixed for them over the last 2 LP’s live. It’s going to be the full stage show, with all the bells and whistles like epic lighting and visuals sound etc, plus Choreographed dancers and all that carry on...literally the works. I want to do something that New Zealand hasn’t seen before as far as local dance music acts go. I really want to try and raise the bar as to what a live soundsystem is all about in Aotearoa bass music culture. I’m literally fizzing at the bung about announcing the line-up. It’s going to be mental. Remember December 16 at studio, Krd folks. Trust me.

MENU: One last question, can you tell us 3 things you NEED in the studio that you can’t live without?

BLTPRF: Frankincense, myrrh, essential oils.