Third Son is the alias of techno producer and DJ Joseph Thomas Price. Born into a musical family, Joseph studied many different styles of composition from an early age. In Third Son Joseph combines throaty basslines with fluttering synths and heavy percussion and, in doing so, enraptures his audience with a unique and refined sound.
In this interview he speaks to us about his experience within the music industry, journeying from when his initial interest was piqued, to the present day DJ playing to thousands. Take note, because this kind of information can be rather difficult to come by.
From what I understand you come from a musical background. Growing up what kind of music did you listen to; did you play any instruments?
My dad was a lecturer of music at a university, so I was always exposed to classic, jazz and experimental music. Anything you would expect from traditional instruments. My first instrument was the piano and then I moved onto more obscure wind instruments, but lets not talk about that.
By thirteen I was super keen on guitar, mainly because I wanted to play solos like John Frusciante and Steve Vai. Once I reached grade 8 I began transitioning into electronic music writing.
When did you first start appreciating house and techno and what artists initially inspired?
I was really into a band called sky eats airplane. It was rock music but with gnarly electronic synth sounds and FX. I then slowly started to discover bands like Massive attack and Autechre and then had a massive phase in my teens obsessed with Amon Tobin. It’s not technically techno, but that was really the gateway for me
What and why were you inspired to start DJing and producing? Tell us a bit about your first songs and your first gig.
I’ve always made music, whether it was on the piano or when I first found fruity loops on my brothers computer when I was about 14 years old. I used to be really into ambient music, probably derived from a combination of Mike Oldfield and Boards of Canada.
I was in bands for years as a teenager, but my first DJ gig wasn’t until uni, playing in the ‘Alternative' room at a commercial club. The sound system was questionable but it gave me a chance to try out early productions in a big room. I think it’s crucial to learn how tracks translate from the studio to a club as early on as possible, and you can only really do that by playing out.
Tell us a bit more about your early production and DJing. What was your first equipment like?
Production wise, a computer, pretty much. In fact I used to love making beats with Music 2000 on the Playstation as a kid, which was essentially just compiling loops - but it was great fun.
The first DJ rig I had was actually borrowed off my best mate in uni. It was an early version of Serato, some 1210’s, and a beasty old allen and heath.
You’ve come quite far from where you started, so how do your initial gigs compare to the shows you play now? What’s been your favourite show you’ve played?
After starting out at student nights it’s nice to now be playing venues where I can play exactly what I want to. My favourite gig so far was probably Space in Sharm. There were some really great moments, especially when I was playing my own tracks. There’s no better feeling that. It’s pure gratification.
You’ve made a fresh start with Third Son, but what aliases did you release under prior to changing your pseudonym?
Third Son is my third project. Before this I was releasing music under the alias Origins Sound with the same guy who lent me those decks. That project was a crucial part of the puzzle.
New artists often struggle to have their music listened to in a crowded market. How did you go about trying to get your music heard by a wider audience?
I was lucky enough to start with Kal, my manager. We sent out demos straight away and Noir signed my first EP within pretty much a week of conception.
After that for me it was about making as much music as I possibly could without skimping on quality. Signing material to a spread of labels early on certainly helped in getting off the ground, but it’s true - it is hard for young artists as there’s so much noise out there. That said, we’re now better equipped than ever before. Getting mixes out there, locking down gig bookings, and generally being pro-active about what you want to ultimately achieve will help your music find the right people.
Contacts can be very important within the music industry. Did you have any useful contacts before you started working in a more professional capacity?
Actually no, my contact list was pretty poor, but that’s why having a manger was so crucial for me early on.
I’m sure there are many things you wished you had been told before you were signed. What advice would you give to any budding producer or DJ?
To start with, focus on quality over originality. Trying to be original while learning the craft is impossible and you can get bogged down with the idea itself. Reach a point where you’re comfortable creating a range of sounds and original music will come as the sum of your influences.
You just moved from Bristol and are building a new studio. What has this process been like and what notable piece of equipment in the studio?
I’m now living in east London with a basement studio complete with LED ceiling (It came installed). For me the acoustic of the room is paramount, so probably my mega thick rugs and base traps. The Aira stuff is pretty fun to jam on and I have a couple of analogue keyboards, but I have so many great soft synths that I’ve used for so long now I feel I can pretty much create any sound from them e.g Arturia, Arp 2600, Jupiter 8, Sylenth 1.
You are currently signed to Sincopat. Why did you decide to sign to the label and what about their philosophy and sound attracted you to them?
I’ve always loved their music, more consistently than any other label actually. I also really like the way they work. They’re professional and uber cool guys.
You recently released your Get to the Chopper EP on Sincopat. What can we expect from you in the coming months? Any new music or exciting gigs?
Got a few follow up EPs with various labels, 303Lovers, Definitive, Underground Audio, and an EP with Einmusika that i’m looking forward to. Gigwise, I’m playing quite a bit in europe and the middle east at the moment. Doing my first India tour in November so pumped about that.
Karol XVII (Karol Samocki) & MB Valence (Marek Bigajski) have spent over 10 years dedicated to crafting molten house, so hot it makes the Baltic Sea boil. Throughout their commendable career, the Polish duo have been dominating dance throughout Europe and beyond.
Working not only as DJs the pair work as composers, song writers, sound engineers, producers and also run their own label - Loco Records. With such an impressive arsenal of skills at hand, it’s no surprise that Karol XVII & MB Valence have clocked up numerous awards for their work within the scene including recognition from Beatport and DJ Mag.
With their fingers covered in fillings from multiple selections of electronic pies, Karol XVII & MB Valence share their experiences with Become A DJ. From their very first DJ music establishments, to their incoming imprints throughout this year Karol XVII & MB Valence offer up their opinion on what they think it takes to become a DJ.
What was it that initially got you into dance music and made you want to become DJs?
Karol - Well, it's a different story for both of us. I decided to be a DJ, because the principal of the junior high school I went to asked me to take care of the sound during a musical event at my school. And so it happened. Later, I got to a club where a DJ was playing a track with a strong bass that went through me totally. Then, there was no way back. It turned out later that the bass was taken from the cult synth Roland Juno 106.
Marek - As for me, I got fascinated by mixing techniques after I'd been raised in a spirit of dancing, because my mum worked for a dance school. There were DJs working there as well who would initially lend my mum audiotapes with music for social dances, but later with disco dances, too. My first contact with DJing was at the age of 13 when I went to a school party at my elementary school where a DJ played some crazy music I'd never heard before, because my mum's DJs hadn't given her such audiotapes. Nowadays, I often laugh at those moments, but then it was an important time to get to know music and to guide my interest in it. A few years later I met Karol who showed me how to play vinyls. He aroused my desire to deal with all that and it was then that I realised that my former trials to mix music at home by means of tape decks without any pitch control sliders were just a joke. All of a sudden, I got enchanted with gramophone records running from belt-drive turntables using slipmats made of foil and it was something that made me fall in love with DJing.
When DJing, what is the set up you request and why?
Marek - So far, we've been into the traditional way of mixing, the manual one, so it's not enough for us to have a just a “sync" and play buttons on the device. But similarly to most DJs, we're used to working on Pioneer's equipment and always request to have that set up. It's also cool to have USB ports for flash drives on the device, because we totally damaged our spinal cords carrying heavy cases full of vinyl records, so now we think that the less the better. We also need one line input for connecting an iPad docking station which allows us to make use of iPad's endless possibilities including synths sounding professional, effectors or samplers that all make our performance better. We had a little adventure with Ableton Live as well, but currently we're back to the roots of DJing, that is traditional mixing. The suspension of performing ‘live’ was caused by the necessity to convert tracks that were produced in Cubase into tracks compatible with Ableton Live which took us lots of time. It would have been different if we'd been working with Ableton at the studio, but we've been faithful to the Steinberg Company since the beginning and we're not going to change that.
How did the pairing of Karol XVII & MB Valence come together?
Karol - I used to hold a residency at one of the clubs in our city and at one time I had an idea to run a DJ workshop in order to improve the level of mixing at that time. Marek showed up at the workshop and after some time we came to the conclusion that we had similar dreams. Those were hard times with plenty of sacrifice, huge problems, but most of all our continuing struggle with the equipment, hiring a professional studio, searching for musicians for recording sessions, holding auditions for vocalists, and absolutely no access to any information. We didn't have any access to the Internet either. We focused on magazines and pieces of advice a friend of ours gave us. These days you can do it all way faster, but then there was more work than effect.
You both run Loco Records, what initially made you want to set up the label?
Karol - Initially, we decided to set up the label to license our tracks to other labels, DJ organisations etc., but then to put out our own tracks on it. We never believed we'd be able to attract such big names as Maya Jane Coles, Robert Owens as well as other top and talented artists. We also had the policy not to release our productions on labels other than ours, but we've recently changed our thinking.
As well as being label owners, DJs and producers you are composers, lyric writers and sound engineers. Do you feel a DJ needs to be multi-skilled to make it within today’s industry?
Karol - No, absolutely not. At the moment a DJ doesn't need to have any skills at all. Obviously, it's not that apparent whether they'll turn out to be successful or not. In our country there's been a change lately that you have to produce music and release tracks to be recognisable and to be able to perform as a DJ. Until recently, it was enough to become a famous DJ if you had contacts, connections and lived in the capital city of Poland. On the other hand, there was no technology that allowed laymen to mix beats, so it was a kind of verification, but you could still see a famous DJ who wasn't aware how to mix two tracks properly.
Nowadays, everyone can be a DJ. Similarly, anyone can make a track and release it without a problem. Luckily, there are some filters on the way and not all tracks produced by means of a ‘smartphone’ are sold at digital music stores. It's hard to say if it's good or bad, because on the one hand, we'll never hear potentially brilliant ideas, but on the other hand we won't have to suffer from listening to mixture of sounds that you can't stand. However, we have to face the truth, there's loads of music and lots of people making it with no effort at all and putting it out on minor labels around the world. In terms of quality, music loses a lot through all these procedures taking into account both technical and practical aspects of the matter, because one has to know that it's extremely difficult to mix down a track at the studio.
Marek - If you begin creating a tune from scratch, each track varies and you have to put in a great deal of effort to make a coherent whole. Another thing is that it's not a problem today to buy sample packs and combine them like Lego bricks. We don't disapprove of that, provided the track is really unique afterwards. All in all, we can't forget that house originated from using ready-made sounds. On the other hand, we have to remember that those were different times. These days, making music based on ready-made loops and samples won't let you go far, because life will quickly verify the skills of such a producer. Now, it all depends on what he or she chooses. When it comes to us, we're simply happy after having created something that sounds original knowing that we did it ourselves from the very beginning, something that is well mixed down at the studio and then mastered professionally. A DJ artist doesn't have to establish a label, because it's not an obligatory stage of life for a DJ artist.
Do you find it difficult to juggle all of these professional pastimes?
Karol - This job is nothing but an enjoyable pastime. There's nothing that can bring you greater joy than the happiness of finishing up a track successfully, regardless of what kind of success this is. Whether it's commercial success, or personal success of finishing your own track. This is something that will remain for long as your creation, and if you're happy with this, it's a great pride and joy.
What parts of the production process do you find most pleasurable and most challenging?
Karol - We actually find the whole process of making music the most enjoyable of all. The fact that you can listen to the sound while making it. It doesn't matter if it's about the mastering process or looking for the perfect sound. Music is what counts and as long as you can hear it playing, it's awesome. However, when there's a cable that doesn't work or the equipment conks out for some reason that won't let us work efficiently, we simply go bonkers.
Because of that, it might be easier to tell what the worst thing about making a tune is. It's the moment that has nothing to do with music, the one when something goes wrong with the equipment like when you have to press a mouse button twenty times to make something work. Then you feel as if you were wasting your time. When it comes to the challenge, sometimes it so happens that an idea for a track in its overall sound becomes unworkable while mixing it down at the studio. There are several reasons for that. Sometimes, blending the technical aspects with what you wish to achieve is quite difficult to merge. Unfortunately, we know that we must finish this and the final result has to be exactly as planned. Sometimes, it takes us two long weeks to deal with mixing down a track. Then it can be really challenging indeed.
What can expect to see from Karol XVII & MB Valence and Loco Records in 2014?
Karol - 2014 is going to be arduous to us again, because we took a little break from work in 2013 after four years of intense activity. This year starts with an EP on our Loco Records label. Besides that there are a couple of other releases scheduled to come out on Toolroom and Suara Records among others. In former years, we made a lot of remixes. Practically, we did them once a fortnight. We're planning to remix less, but do what we do with quality. Also, we want to do something similar with releases on Loco Records - fewer but better. Moreover, we intend to stop releasing the series of samplers entitled ‘A Four Track Sampler’ - which series appeared on Loco for a number of years and was composed of four previously unreleased tracks. We'll return to cyclic mixtapes we once did and those appeared as Deep Loco, now they're called Mixture. We're considering a possibility of releasing an album, but it's too early to decide. We'll see.
And finally the big question… What does it take to become a successful DJ/producer?
Karol - Unfortunately, we don't know the answer to this question and probably nobody will give you an objective answer here. It's as if you were told to make a hit. You can never be certain that what you've done will be of someone else's interest. This also applies to us. We have no idea why we've drawn people's attention whereas 10,000 more talented producers have been left unnoticed. This business sometimes requires you to be in the right place at the right time and simply have a bit of luck. Obviously, we receive words of recognition all the time, but that doesn't let us formulate a straight answer why someone likes our music of all available in the world.
Marek - You have to work extremely hard with no sleeping at times, but I guess everyone knows that. Sitting up all night is part of what we do. After all, the brain is in the alpha state then so you become more creative. Anyway, after all these years we can say that if you want to be successful you must work hard, you can't give up if you fail and you should be a little lucky. If you're patient and have some ideas and simultaneously you're focused on your work, you'll surely have your fifteen minutes of fame in the future.
Hard work, dedication and a whole heap of body destroying sleepless nights have been key to Karol XVII & MB Valence’s success throughout their domineering take on house. 2014 will see the duo continue their obsessive production into the decadent genre throughout their Loco Records imprint. However we also see them stepping into the hands of Toolroom and Suara Records which further guarantees dance floor delights when crafted by the hands of these iconic labels. Keep an ear out for the Subway Station 1 EP due out later this year which is sure to make your first train home listening that much sweeter.
You can check out Karol XVII & MB Valance more online at: