After taking a break from producing, Hamill is back with a new 12-inch called EXOSTACK due for release on the legendary dance label R&S later this month. After previous long form releases like his classic sci-fi narrative inspired Welcome to Mikrosector-50, in which we follow the exploits of the time-travelling cyborg Mr. 8040, Hamill is relishing the simplicity of putting out music that embraces the joy of dance music.
“I tend to overthink my own music but EXOSTACK just came to me after whistling away in the street,” Hamill says. “I wanted to do something to evoke the spirit of R&S but in my own way. It was nice to do something a bit simpler without the complexities of a more longform project. It’s definitely one for the dancefloor.”
Listening to any of Hamill’s productions, it’s clear the man has an affinity with synthesisers. With expertise and precision, his synth lines simultaneously play against preconceptions of nostalgia and the future. Despite a barrage of new and exciting synths being released over the last decade, Hamill’s concentrating on sorting out his vintage synth collection and creating that elusive perfect studio workflow.
“I’m currently getting a lot of older synths repaired and trying to sort out my studio to make it more comfortable to work in. I sorted out all the wiring and now I’m working on ideas all the time. My workflow is mainly about finding the main melody and I don’t rush the process at all.”
Finding time amongst a busy DJ touring schedule for working on original songs is a challenging task. While producing music is Hamill’s original love, he’s in no rush to keep churning music out at this point in his career.
“I’m more than methodical now when it comes to production and I take my time. I’ve released a lot of music now, so I decided to slow things down a bit so I can focus on getting the live show right. Time is always against you, but procrastination is the real enemy.”
During this time out from production, Hamill re-released his first album Orange Melamine on Ninja Tune last year. Previously rarely heard, it’s a look into 18-year-old Hamill’s mind. Now 27, one might think Hamill may cringe at one of his first forays into making music, but he stands by his younger self’s work.
“It was an odd decision but my manager’s and Ninja Tune’s confidence in the project really solidified it for me. I actually love that record. We all change a lot and my life has been a whirlwind of experience since I made that piece of music, but of course I identify with my youth. I draw inspiration from everything I’ve seen and done so yes; I will stand by my childhood,” Hamill says.
Outside of his producing, Hamill has garnered a formidable reputation as a DJ. His numerous features on the live-streaming platform Boiler Room feature crowds absolutely losing their marbles on the dancefloor. It’s a stark contrast to some of the more serious DJs that are met with awkward shuffling. It’s hard to define his DJ genre – house, disco, acid-house, techno and even some trance get air-time, but it’s his oddball selections that have come to be a defining characteristic of his mixes. Indeed, opening his set with Phil Collins’ In the Air Tonight in the notorious Panorama Bar at Berghain was bold to say the least. But Hamill has a simple outlook.
“DJing is as much about the crowd as it is you. Of course, the odd track can go down badly, but generally if you have given the crowd the right notions towards the relationship you have made over the last hour or so then they respond enthusiastically. Some DJs, of course, take things a tad more serious than I do but that’s totally fine, some relationships need to be serious.”
By Michael Cusack
