God of the Machine “Warpaint” (Mantrac Remix)
Although entering in only its third release to date, Specimen Records doesn’t need a lengthy catalog to win over the confidence of clubland. Headed up by Derrick Thompson (aka Drivetrain), who also calls the shots for the renowned Soiree Records International, the label is resting firmly in the best hands possible. Here, the chief exec breaks out his God of the Machine guise to issue “Warpaint,” which gallantly charges forward with rotund tribal drums and provocative battle cries.
For the package, Thompson has also wrangled together decorated underground warriors Hijacker, Santonio Echols, Paul Rip and Mr.C. The latter, being the acid house hero that he is, uses his Mantrac side project to bathe the bit in a low-pH sonic solution. Boasting portentous pads and full-bodied basslines, this corrosive cut will have no trouble disintegrating any dancefloor it touches.
Available now via Specimen Records.
Did you discuss or exchange ideas with other producers while creating this track?
My inspiration for making tracks usually comes from a number of sources, including going to an event, listening to other music, scenery, etc. In the case of “Warpaint,” I wanted to compose a track that had the tribal sound and feel of the Native American side of my ancestry. After a night out at a club, the pounding thump reverberated in my head to the point that I started composing as soon as I got home. That is the normal idea flow that goes into my productions.
Were you impulsive on this track, or did you have a sketch in mind before you started?
As usual, I started out with a sketch in mind. But in typical fashion, this track progressed in a different direction than expected. I always keep a very open mind and let my senses guide me. I find that this freedom allows me to be more creative, and the results are always better than expected.
Do you think advances in computer technology and gear have affected your creativity?
Technology has made it much easier to achieve what would otherwise take much longer. With this advantage, I am free to explore and experiment in greater detail without the stress and frustration of older systems. However, there are many facets of the older technology that I still incorporate. This combination often leads to a very interesting outcome.
Describe the best setting/activity to hear this track.
This track should be heard on a sound system with massive sub-bass. There are things happening in the lower frequency ranges that can only be heard on proper equipment. An outdoor festival-type event would absolutely work for this. I also love hearing it in a sound-absorbing clubroom, accentuating the bottom-end.
Have you played this one out in any of your sets? If so, what was the response?
This track is completely tailored for my sets. It’s animated; the sound goes through your body and takes control. This is the type of track that can be easily mixed with a number of different [things]. Each time I’ve played it, the crowd response has been very positive. The energy level in the room seems to raise a notch or two.
Follow God of the Machine (Derrick Thompson) on Facebook | SoundCloud
Follow Mantrac (Mr.C) on Facebook | Twitter | SoundCloud
