Stepping up for our next ‘Mixed by’ feature is Belgian DJ and label owner Rey Colino. Colino runs Amsterdam based Kalahari Oyster Cult, a record label on the rise with club goers and DJs alike, especially those looking for a deep rich sound. We highly recommend checking the label and its incredibly consistent back catalogue.
His mix features a blend of tracks from different era’s and is well worth a spin if you want to dig some truly dark and somewhat euphoric underground tracks.
INTERVIEW
Thanks so much for the mix and taking the time to talk with us. Have you been keeping over the last few months?
Hey Adam, my pleasure, thanks for having me. I would lie if I’d say it has been a stroll in the park but not too bad, considering! The start of a global pandemic and consequently seeing every link of the industry collapse one by one for an indefinite period of time has been very nerve-wracking, of course. But I have good faith that brighter days are ahead. One can hope that our scene will come out of this a bit healthier on several levels.
I listened through most of Kalahari Oyster Cult discography today and there was not a single track I did not like. What seems to remain consistent is the rich textures and deep vibe throughout. How would you best describe the sound of the label for any readers that may not have discovered you yet?
I m glad to hear it! Id’ say a vibrant balance between 90’s nostalgia and modern sound design, with a firm focus on the dancefloor, but not only! As far as the actual records are concerned, I put a great deal of effort into the pre-production (mastering/cut) process since I am very meticulous (maniac?) when it comes to the sound of the records I put out, as they’re nothing more frustrating than good music on a poor sounding record.
How long have you been running the label and how did it come to be?
The first release was in January 2017. started a reissue label with Otto Kraanen mid-2016, but I found the licensing process a tad dry, and humanly disconnected, and wanted to link up with people and curate my own thing. I had found an obscure Youtube upload where the artist was not mentioned called Somewhere In The Tapes. It had this very pure and organic sound of the Deep House comint out of Italy in the early 90s and it really resonated with me. So I reached out to the uploader, Jacy, to check who was behind those tunes. Turned out that it was him, and the tunes were made in 2006 in his studio in Bari. These became OYSTER1.
How do the releases on your label usually come about, do you approach specific artists or is it built around friends and colleagues? Do you get sent a lot of music from artists and what is your feelings on receiving demos from artists that you do not know personally.
A bit of both world actually but definitely more around the network I developed over the years. I get a lot of demos sent, but very few that are actually addressed specifically to me, so it filters itself nicely. For now, I don’t accept external demos since the planning is quite busy and I don’t want to let people wait too long to get their music out. But I always eventually listen to everything I get sent (even if it’s months later) since I firmly believe that there’s a lot of talent out there that deserves to be heard.
Your normal day job is working at record store and distributor Bordello A Parigi, firstly how much have you missed this? And how do you think working here has influenced the music you play and also the music you release.
I missed the shop and the interactions for sure, but distribution has been running alright, fortunately, so I didn’t get to miss my job much!
It influences massively for sure since I get to hear a bit of everything that’s being done right now, which allows me to have a sharp understanding of the current market. That said, I try not to be biased by what’s going on, else that’d defy the purpose. On the DJ side, it’s a blessing in disguise because if I get to hear a lot of things, it can lead to a foggy brain, tired ears, and desire for silence at home, after 8 hours of kick drums in the shop, which is not always great when you need to prepare a mix or a gig on the weekend. But yeah, I m spoiled, aren’t I? :)
Have you or do you plan to release any of your own music on the label? (I did not see any on the discography)
Nope, I don’t produce but I could perhaps put out a solo of the transverse flute, we never know… watch this space!
Finally tell us about the mix and the set-up you recorded it on.
It’s a blend of tracks from different eras and people that are de facto not really made to be put side by side, that I compelled to with limited results by means of a mixer, 2 technics and 2 CDJs at my home in Amsterdam.
