'There are certain tracks you can play in the U.K. you can’t get away with playing anywhere else

If you’re in any way familiar with the murkier, faster and sweatier side of techno, you’ll know Manni Dee. He’s the London based artist who’s played in some of the cities most ridiculously intense parties, including Jaded, Individual Collective and THEM sessions at Corisca Studio’s, and has gone on to play further afield in the likes of Berghain and Amsterdam’s legendary Unpolished festival.

As a multi-faceted artist, Dee is mostly known for his relentless, hardcore creations laid down with phat drums, crunchy percussion and overall face melting aesthetic in full force throughout his productions. His ‘Nuances’ alias focuses on a more experimental project which is played live, touching on a more ambient and emotional sound in comparison to his Manni Dee moniker.

Releases on Perc Trax, THEM, Leyla Records, Osiris Music and Earwiggle are just the tip of the iceberg on Dee’s celebrated discography, as well as a slew of shows with some of the most celebrated artists within the darker confines of techno like Sunil Sharpe, Stranger, Joe Farr and plenty more unconventional electronic heads.

Ahead of his MOTZ x Pls.Uk in London next Friday, we caught up with the man himself to talk tunes, politics and why the energy of London’s music community is pretty much incomparable to anywhere else in the world...

You grew up in Wolverhampton, did you attend your first rave there? And what were your early days of raving like in London?

I didn’t attend any raves in Wolverhampton. That kind of hedonism didn’t really seem as if it was on offer to our generation. The first time I went to a party in London was when I was living in Brighton. London had what Brighton lacked, which is a given, considering its size. Rave doesn’t seem like an applicable term for my early clubbing experiences.

What do you think of London’s techno scene at the moment?

It’s a shame clubbing isn’t as valued in London as much as it is in other European cities. This has resulted in a shortage of venues, due to policies of austerity and regeneration that prioritise capital over cultural capital. As oppressive as all this seems, in the end it just gives us more to fight back against and be angry about, more reason to organise and establish alternative spaces. I believe this kind of marginalization contributes to the sound too.

There are some great techno promoters in London at the moment, and for the most part, the energy at parties is great. There are certain tracks you can play in the U.K. you can’t get away with playing anywhere else.

Here at MOTZ we love a night that’s unconventional and rough around the edges. What kind of nights do you like to attend when you’re not playing?

Depends what I’m in the mood for. I always look forward to Perc’s annual party. What THEM are doing is really exciting at the moment too. I like the fact that KAOS have built something from the ground up that attracts weirdoes from a myriad of backgrounds. I mean weirdoes as a compliment, the same way Lou Reed used to use it as a superlative.

In a widely circulated interview with Perc recently, he stated that techno can come across ‘aggressive, macho, or even misogynistic’ to the casual observer. Do you agree with this statement?

Definitely. It’s a difficult problem to confront, as misogyny, like racism, is internalised and institutionalised. Both have been the bedrock of capitalism for as long as it’s existed, and an alternative or underground scene is never going to be immune from that. It’s no secret that it’s a male dominated industry and misogyny exists within it. We have to consistently confront ourselves and ensure we’re treating others as we’d like to be treated, regardless of gender, race, age, sexual preference etc.

‘London Isn't England’ featuring Ewa Justka on Perc Trax is an absolute belter. Can you tell us what inspired the name behind this captivating track?

The title’s inspired by the myopic and parochial thinking that emerged post referendum. A lot of people failed to place the result in a historical context to understand why it would occur. The divisive 'us' versus 'them' campaign promoted by the media and our beloved politicians was unfortunately effective. European pride & xenophobia prevailed coupled with a negation of empathy and dialogue between the two sides.

You and Ewa Justka performed at the infamous Unpolished festival at the weekend. Do you have any other future collaborations with her?

More live shows. We record most of our rehearsals too, from which something might surface in some form in the future.

You’ve done a remix on the upcoming Pls.Uk003 soon to be released this month, featuring a track from RVDE and an UMWELT remix as well. How did your relationship begin with Pls.Uk?

They contacted me about doing a remix for RVDE, who I’ve shared a line up with in the past. I was already familiar with the label due to previous releases from Ansome and Ossian and Ayarcana.

Is there any other upcoming projects you would like to talk about?

There are a few projects coming up, but I can’t announce any of them yet. Don’t you just hate it when artists tease you like that?

We noticed that BBC1 featured your music for the Winter Olympics. Is making music for TV and film been something that has interested you before?

Yes. I made the music for a play in 2015, and have composed for various adverts and short films. I always welcome the idea of composing for longer or conceptual projects. I enjoy working to a narrative and the challenge of using audio to convey or underscore an emotion.

You have a very compelling and diverse approach of style to your music. Who are you listening to at the moment?

Tyler, the Creator and Drake, but only the latter’s harder stuff, mainly from his mixtapes.

Catch Manni Dee play Friday 16th March for MOTZ Presents: Pls,Uk at London's new Cell 200 dungeon.

#ManniDee #EwaJustka #PercTrax #PlsUk #THEM #KAOS #Cell200