Coffee Break with Alex Medina
It’s 8pm on a Thursday evening, and whilst it’s a cool, crisp night here in London as I’m prepped and ready for the interview, my Skype answers to quite the polar opposite. Canary Islands - also 8pm. Hot. Beautiful. As the sun is still shining on the other side, Alex greets me with equal radiance and energy - this vibrancy, paired with the heat of the Islands, beams straight through the WIFI and instantly brings a wave of warmth to start the interview gloriously.
For anyone familiar with pretty much the biggest labels over the past two years, you’ll know of Alex Medina. A break made with ‘Golden Teacher’ back in 2020, this is an uprising which has not just not brewed overnight. In fact, it’s been just shy of 20 years’ worth of graft: through plentiful experience working in vinyl and music distribution shops in Spain, running his own label, Mumbai Records, and also experience with major players Muting The Noise - complete with his own individual sense of sound and truly varied musical background, this is what makes Medina a stand-out player in today’s scene. Yet, with his name in popular demand, you’ll never see him release on just any label possible - only through ‘family’ labels as he so puts it. And the latest addition to the clan? It’s Labyrinth Records, with ‘AlgoRhytm’ - which today our chat revolves right around...
Welcome Alex - thanks for taking time out of your busy schedule!
A busy schedule indeed - it seems like the past two years have really been ‘your time’ - with releases across multiple labels in the scene.
How are you feeling right now? And when was the last time you pinched yourself and realised this was all real?
Hello, and thanks for having me!
It’s not exactly that I pinch myself thinking it’s real. I’ve been in this business for many years; I’ve been producing music for the past 15 years non-stop. And then suddenly one day, someone like Dixon decides they like your music and you release on a big, big label and you have a new position in the international scene, which is good.
I was very happy of course, but for me, it’s more like a long wait after so much hard work. And I’m also very happy joining the Innervisions family because they treat me very well. I’m very gracious to all of them. It’s certainly been a long road of hard work.
… Actually I remember that time exactly when Dixon played your track - it was his Transmoderna Boiler Room. And he opened with ‘Golden Teacher’. I believe it was such a pivotal moment - Steffen’s first mix during the lockdown in Europe; it was a standstill moment. And here he was, opening with your track!
Yes definitely. I remember receiving the email from Innervisions saying they really liked the track, and Dixon would love to use it to open this amazing lockdown stream. For me it was like a ‘whoa’ moment. But it’s true that maybe there was something in the destiny of it; I remember producing ‘Golden Teacher' with a really, really deep message of consciousness and humanity. The lyrics are very deep if you know them. Everything was at the right time: this pandemic, a deep message for us all - the rest is history.
And now here we are - talking about me and my music for another interview.
And well, on that note of this interview, we’re here today talking about your latest release, with ‘AlgoRhytm’, on Labyrinth records.
Please can you enlighten us more about this and what it is in a nutshell?
So originally the tracks weren’t produced for Labyrinth Records or really any label in particular. I produce and listen to a lot of music, and produce lots of different styles - electronica, deep electronica, experimental, techno and so forth.
Nick then contacted me and told me he was starting his new label, and asked if I wanted to be part of it - the answer being yes. And at that time, I was currently experimenting with my new Elektron Octatrack MKII machine - lots of really deep and crazy melodies. I went with the flow; I try to produce only the thing I’m feeling at the time - I go with my gut, and that was the result. ‘AlgoRhytm’ is deep and actually just a bit different to my other music.
At that time of communication, I had around 25 unreleased tracks, yet I chose ‘Thicker Than Water’, ‘AlgoRhytm’ and ‘Oracle’ as the EP package because as a concept they are all really solid and deep, cosmic and downtempo. When I sent them together I felt a little surprised, more because I think to choose this kind of downtempo music you need to be brave - but Nick is brave and he really knows about interesting music - and most importantly, he loved all three tracks.
Something I rather noticed about this release was how different sounding it is to other material previously released. ‘AlgoRhytm’ is this slow-paced emotion, whereas your other tracks have this pace-ier sense within them. Could this be because the track is on a newly-launched label, that it gave you this a clean slate to release on it?
Definitely. When you have a new label and you’re not really stuck on style. You know, these days you have two options - 1: you release music you know is going to sell but sounds like everyone else, or 2: you take the risk and you try to release only the music you feel is right for the label. I did that - so yeah, I’m very happy three complex tracks were picked for the release. I was really happy to give my ‘babies’ to someone who is going to look after them!
… And that’s the thing as well - when you put so much soul into something of yours, you want it to be looked after and supported - each track of yours is a part of you and a splinter of your soul - so you want that to be supported.
Certainly. You want your babies to be around good, professional people. I could send my music everyday to a new label but of course I don't want to do that - even though I’m producing a lot. You want your babies to be released on your own label or with friends. Of course, I'm happy to be part of Innervisions and Diynamic, and I’m also happy to be with Labyrinth - it’s not about how big the label is, it’s about the love around [smiles].
A different sound, a different production technique? Did you by any chance do anything different to create this one, production or technique wise? What made it come out different?
I didn’t change the way I produce with these tracks - I just mixed up how I used the melodies. I was also in a different state of mind. Plus, I had my new machine! I went different with the arrangement. I like to do crazy things and I like to experiment; I love to be abstract and experimental. But most importantly, I don’t want to sound like anyone with any of my tracks - which is why I mix it up.
…On that note then of using different elements and abstract sounds in your tracks - and we see many artists using different and weird things in their own productions - I actually watched a video with Jimi Jules where he uses really weird and random samples for his tracks.
I’d love to know actually what the most unusual thing you've used in your own music?
Maybe a crazy horn - like a train horn. There are many producers, like Jimi, who use bongos and percussion: they're more instrumentalists and love to play with live and real elements, but for me I only use my machines. I’m a nerd with my machines. I don’t have many tools to play. Everything is inside my machines and me pushing buttons.
We also see there’s three Biesmans’ remixes, which are coming out as part of the vinyl package later this year. What can we expect?
We needed to find remixers to finalise the EP release - of course I thought about my friends. Joris (Biesmans) is like a brother; we have a really good relationship and we’ve known each other before anyone in the music scene knew both of us. I mentioned the release to Joris and how great it would be to have him involved. I knew he was going to put really energetic kicks on all three pieces. Joris is more energetic and likes ‘bangers’ and I knew he would be perfect, turning the deep original tracks into the complete opposite and making them suitable for big dancefloors. The originals are more suited for small clubs. So with this package we have more variety: three deeper tracks and three bumpier and more energetic.
… And that’s especially what you want with remixes - you want something different and opposite to the original!
Always! For me, every time I have a remix request, I send something back totally different. Of course, you need to keep some elements, but normally I don't even listen to the original track when I want to remix. I just take the elements and make the remixes… and this is why I knew Joris would do good with my music and his style. This is what I want from a remix, to sound different. If you have a remix that is the same as the original, then there's no point!
This year I’ve done 22 remixes too - so that’s a crazy number. This is where I get a chance to try and sound totally different with each piece.
It’s certainly a lot! And actually on that last point, you’ve got more remixes coming out to original tracks of yours this year. So tell me, how do you break away from one track after finishing it and then making the next one with a blank slate (as such)?
I know you surf, but are there any other ways you find useful in clearing your mind and creativity?
Well to be honest, all day I’m thinking about music, and thinking about how this machine can make this and that - even when I go to sleep and wake up. Some days I wake up at 5am, 6am because I’m thinking ‘how can I do this with my machine? Honestly I can finish one track and start another the same day - and both are totally different.
Surfing is a reset for my brain. It's like doing yoga or meditation. You're out of the water and your brain is new. On top of that, I have a lot of things I want to learn non-stop, so this is why I’m always learning things and finishing 225 tracks! But you know, this has always been the way, since I started producing. I’ve produced a lot! Even all my friends don’t know how I do it [laughs].
But yes - surfing is the answer, and my mind - all day thinking about making electronic music.
So you’re never going to stop making music then are you!
I don’t know, maybe one day I will totally burn out [laughs]...
I try to jump - if I produce dance/more 4x4, the week after I will create something more ambient, jazzy - then more ambient and back to some funky groove. I don’t like sticking to the same formula.
(JOANNE ADDS: Then it gets boring…)
Yes. I get bored producing the same formula. It’s like eating the same menu at home everyday...
Now I see you also played at Labyrinth’s recent event too - Tofte Manor.
Did being part of the release schedule make the experience more rounded as such for you? Especially because ‘Thicker Than Water’ was released the day before the party?
Yes, it was perfect. It bonded the EP release with the event and it being with the Innervisions family. We played together and we all saw each other. And also I met Nick in real life - after two years just communicating on Skype. It was amazing to have human contact once again!
And also, I realised ‘Thicker Than Water’ is in a new Keinemusik playlist too, so the whole promotional package is doing well.
So I had a delve into older tracks on your Soundcloud account, and came across some of your earlier productions. Remix of James Blake; a ‘Tribute to Nina Simone’; whilst tracks such as ‘Tropical barba....song for you’, ‘Jazzy Rooibos’ and ‘Curtis Mayfield future shock Alex Medina (jes extendert edit)’ are all heavy and apparent Jazz and Blues influences.
What’s your relationship with such genres and how has this helped you on your own musical journey right to this moment as we speak?
Jazz, Funk, Soul, Disco and Reggae is my background. I grew up in a house full of vinyl. My mother is a vinyl lover and she loves the music mentioned - so obviously I grew up listening to it all. I’m a Jazz lover. I love Classical music. I love everything which is beautiful. I’m really influenced by many kinds of music which gives me goose bumps.
Jazz is a massive influence to my music, yet now not so much as many years back. Now I'm exploring other avenues. Maybe I'll go back to more jazzy electronica next year. As I said earlier, I do jump from different styles of music to another, but jazz, funk, soul and reggae are certainly my background, my music heavily influenced by them. You can feel when a producer has a deep background because of the music he produces. I can feel it. You can feel it, you know. When you have this background and influence. Your music gets more complex.
… I actually forgot about those tracks you mentioned! You reminded me today [laughs].
(JOANNE ADDS: You’re going to be playing them in your next sets then..?)
Actually, I don’t like playing my music a lot! I get bored of listening to my tracks so many times. And then I never find the right place to play my tracks. I am learning to do it, it’s my own promotion.
… Do you think it’s more because the style you play is different to your production sound?
Yes, and this is why I do live acts because when I have my music together as a whole concept, everything makes sense. When I put my tracks in the middle of other people’s music, no matter how fantastic they are, I don’t feel the tracks exactly how I want them to feel in the whole set. This is why I went back to playing live acts for so many years. I put it all together like a conceptual piece of sound to be performed live.
You know, I have so much music - I could do a live act for seven hours!
well as you know, we are here as part of our ‘coffee break’ interview series - and I know it’s quite late at night - certainly not the best time for coffee - but how do you usually like yours served?
I’m actually more of a beer person…
As we finish up, I’ve got some quick-fire questions for you:
Top three songs or tracks of all time?
James Blake - ‘Limit To Your Love’.
Metallica - ‘Nothing Else Matters’.
Bob Marely - ‘No Woman No Cry’.
Inspiration comes to you when?
When I’m alive.
Sum up Alex Medina in one word…
(A bit) crazy!
What came first - the record or agreeing to play the party?
Party, then the record.
How do you celebrate each big EP release?
I try to surf the best wave that day.