{"id":29813,"date":"2016-04-11T18:39:22","date_gmt":"2016-04-11T16:39:22","guid":{"rendered":"http:\/\/www.deephouseamsterdam.com\/?p=29813"},"modified":"2016-04-11T18:52:44","modified_gmt":"2016-04-11T16:52:44","slug":"label-showcase-17-intec-digital","status":"publish","type":"post","link":"https:\/\/www.deephouseamsterdam.com\/london\/label-showcase-17-intec-digital\/","title":{"rendered":"Label Showcase 17: Intec Digital"},"content":{"rendered":"

Having re-launched in digital form in February 2010, Intec Digital has quickly re-established itself as one of electronic music\u2019s most forward thinking imprints. <\/strong><\/p>\n

Whilst still maintaining the same dedication to quality that made it such a distinguishable label the first time around, Intec releases music in the digital era whilst retaining both artistic integrity and a heightened sense of involvement with its music.<\/p>\n

Used as a platform to expose artists that Intec\u2019s astute A&R policy has identified as having strong potential, from young producers coming through the scene to semi and established artists who have a new string to their production bow, Intec Digital works closely with its artists to get something out of them that other labels simply wouldn\u2019t find. Placing faith in its own ability, in return of fans trust, Intec are delivering music that becomes highly rewarding when you truly sink into it as a combined piece of music and art.<\/p>\n

So, with that, we continue our series highlighting our favourite labels from around the world. Today, we thought we would catch up with Intec Digital boss (alongside Carl Cox<\/strong>), Jon Rundell<\/strong> to get the scoop on all things Intec Digital.<\/p>\n

Also, at the end of the article there is a slamming mix from Jon Rundell himself, so that you can get an idea of the Intec Digital experience as it was meant to be heard\u2026in the mix!<\/p>\n

“…no two Intec releases ever sound the same.”<\/span><\/h3>\n

\u200bWhat does Intec add to the dance music spectrum?<\/strong>
\nIt\u2019s been a big believer in breaking new talent. From when it began in 1999 it has always done this. From Marco Bailey, Christian Smith, Trevor Rockclife, Bryan Zentz, Oxia and Deetron right through to today with Tomy DeClerque, DJ Jock, Drumcomplex & Roel Salemink, Harvey McKay, Carlo Lio, Ramiro Lopez, Nicole Moudaber and plenty more. Each artist also just expresses themselves how they feel, in their own individual style, no two Intec releases ever sound the same.<\/p>\n

\u200bWhen did you first think about launching Intec<\/strong>
\nWe took a break for a few years and we relaunched mainly because we were sent a record to play, by Adam Sheridan & Mark Maitland called Tackleface, and we just felt that if there was ever a record Intec could get behind then this was it!<\/p>\n

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\u200bWhen did Intec actually launch?<\/strong>
\nIn 1999, when C1 and Carl decided to set it up<\/p>\n

Story behind the Intec name?<\/strong>
\nIt\u2019s an abbreviation for International Techno. Its what the label represents, techno from all corners of the world, most our artists live in different cities and countries to each other, and now techno is played much more globally so it still fits our ethos.<\/p>\n

What was the most difficult aspect of launching the label?<\/strong>
\nRelaunching was tough, everything had changed. No more vinyl and downloads had really kicked in so it was a case of learning new ways to promote and deliver our releases online. In the early days it was basically trial and error, with more error happening!<\/p>\n

\u200bWhat qualities do you look for in a Intec artist?<\/strong>
\nHard to say really, we literally just take the music on face value. If it’s a track that we fell we can really get behind then we sign it and that’s it. There is no individual quality of a person we look for, just a quality level in the track itself. Of course it does help if your easy to get along with and happy to work as part of the overall collective too.<\/p>\n

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\u200bDescribe 3 seminal moments in Intec existence?<\/strong>
\nWhen the label released Renato Cohen \u2018Pontape\u2019 (still one of the most unique techno records ever made), Bryan Zentz \u2018D Clash\u2019, and Knick Knack going to No1 for 6 weeks on the overall Beatport genre chart (a personal moment too with having written it).<\/p>\n

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\u200bMost disappointing moment in Intec existence?<\/strong>
\nMaking the decision to take a break. I\u2019d been at the label a year at that point. It was tough, really tough with vinyl really decreasing at a rate that was starting to hurt us. Downloads were still an emerging revenue for us, and we were both touring heavily at the same time. We decided lets just tour and see what\u2019s out there and what\u2019s happening, what people are talking about and take a bit of the pressure of ourselves from the label side of things.<\/p>\n

\u200bDescribe Intec album artwork?<\/strong>
\nEach piece depicts an image from where that artist is from, so that it represents them fully and their background. We put twists on it to make it more interesting and art lead too.<\/p>\n

\u200bBest Intec showcase?<\/strong>
\nThere have been a few for sure, doing Awakenings at The Gashouder in Amsterdam during ADE a few years ago was an amazing atmosphere. Every DJ brought their best and we all got to hang out properly all night too, which is always good for our\u200b\u200b collectiveness. Another great one was last year on Easter weekend at Fabric in London. We took over the whole club with artists and everything just clicked, its such a great club to play in.<\/p>\n

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\u200bWorst Intec showcase?<\/strong>
\nIn the early days of relaunching we did a small party in London, no one turned up really. It was too soon for us on reflection, so we went back to the drawing board, waited and built the label up more through releases, then began to do the parties we do at the likes of Fabric, Awakenings and Under Club.<\/p>\n

\u200bDream Intec artist?<\/strong>
\nLaurent Garnier. For both Carl and me. So if he\u2019s reading please send us something!<\/p>\n

\u200bMost important business\/music app\/program\/software?<\/strong>
\nWith the advent of social media, software like \u200b\u200bHootsuite has been great with keeping track of everything and scheduling posts across outlets, it saves a lot of time. For production, Ableton has really come on now, I made the switch from Logic about a year ago and glad I did, as using it also saves me time. Traktor has obviously had a huge impact on the way people DJ too, personally I use Rekordbox and USB\u2019s as I prefer carrying less into a club and not having to plug cables in, and you guessed it, that also saves me time, which means I can put more into the label and producing.<\/p>\n

Longest Day(s) ever worked?<\/strong>
\nI guess I’m not really your typical label manager, and there aren’t really any set hours in all this as such. You deal with people in different time zones every day, I work on label things, have meetings, record mixes like this one, do interviews, book artists for events, talk to the clubs to make those events happen, produce plenty of music and tour most weekends. The longest day I ever had was in South America, I played a gig on Thursday night in Cordoba, left the venue and flew to Bogota in Colombia, travelling all day to get there. In the lay over in Peru I had 5 hours wait and some pretty urgent label things to attend to so got cracking. I got to Bogota and played that night and left the next morning to get to the next place without really ever sleeping properly the whole time.<\/p>\n

Upcoming projects?<\/strong>
\nWe just reached our 100th release since coming back\u200b, it’s\u200b our 5th year back. So that was a recent milestone and big project. Next we have just signed more exciting new artists whose music we believe in as well as from some of our more recent ones. Event wise we are looking at Sonar next and I’m just in the middle of working it all out, and after that ADE. In the mean time we have some great EP\u2019s coming from \u200b\u200bDrumcomplex & Roel Salemink, Ramiro Lopez, Fabio Neural and Matt Sassari & D Unit and Reinier Zonneveld, Digital Primate & Axan over the coming months to look out for.<\/p>\n

Download <\/a><\/span> Soundcloud <\/a><\/span> Label Page <\/a><\/span><\/p>\n