THE DOSE: Okay, let's start with the basics - what set you right on the path of making music? When you did meet electronic music and especially, drum'n'bass?
XENOPHOBE: I have always been listening to music with an analytic mind - I might thank that to my grandfather who gave me a tango harmonica when I was around 6. As for electronics, I have always been attracted to electronic sounding music with all those fat leads! The nineties gave us the rave fever with Marusha and all the kawaii stupid happy hardcore stuff - that was my highway towards techno hardcore and hardtrance, mainly with compilations, like Thunderdrome, D. Trance or Ravermeister.
1996 gave me my first PC and I had a keen eye on getting one which is good for composing. So that's how I started, I sometimes sent in my tunes to demoscene compos. Then came the goa trance madness, I don't mean today's psytrance under this. This is my favourite genre even today, though by today it got really sloppy and went over some rails where I don't really want to follow. Yet I got some musical impressions and harmonies there which still dominate my music now even its breakbeatish stage.
And honestly, I hated drum and bass for a long time, until one day Mercenary (one of the Hungarian techno hardcore gurus) showed me Skektics by DJ Hidden and Ruff-teck's Analog Steroids compilation. This is more of the Dutch style but that's how I like it!
THE DOSE: How does your name come from?
XENOPHOBE: I only like how it sounds, nothing more.
THE DOSE: What would you name your most important impressions in art?
XENOPHOBE: Let's start with hardcore, they're DJ Ruffneck, DJ Promo and D-Passion. As for goa, I'd say Electric Universe, Etnica/Pleiadians, Astral Projection, MFG and Man With No Name. In drum'n'bass, DJ Hidden, Eye-D, Chris.su, John B, Raiden, Concord Dawn and Technical Itch. Literature would definitely have Dezs? Kosztolányi, his nephew József Brenner (aka Géza Csáth) and I wouldn't leave H.P. Lovecraft out.
THE DOSE: How did this innovative concept come that you should re-work poems? Or are these completely new re-interpretations for the 21st century? Or is this just a joke, mixing up an old vinyl with a Virus style release?
XENOPHOBE: Oh, this all came in 2001 with the first version of the track "Lennék". We had a school event and my headmaster (who also was my literature teacher) wanted to have Endre Ady's poem "Sem utódja sem boldog ?se" in the program. I already had an extensive collection of Latinovits vinyls so I said what if we used that version instead.
So I went home and ripped the vinyl in and while doing it, I was playing with some synth lead and it turned out that they sound pretty cool together. Everyone loved that. There are some tracks that follow the original atmosphere and rhythmics of the poem and there are others that are complete re-interpretations.
THE DOSE: Do you plan to cover other poets as well?
XENOPHOBE: Yes, but only those whose poems have been cited by Latinovits. He is the main driving force behind these tracks. I am one hundred percent respectful towards his work. I currently work on a poem by Pilinszky.
THE DOSE: It has always been London that had the lead in drum'n'bass, all DJs and producers heed its words. You don't hear this sound on parties here. Did you plan these tracks for the dancefloors or you don't care about the Hungarian situation? Or you go paradoxical and force your listeners to go home and think about the music you make?
XENOPHOBE: You see, I wouldn't really call this kind of music drum'n'bass. This is a fusion of goa, trance and dnb. I did some tracks that are danceable and DJs do play that, like "Milyen szép halott leszek" and "Reménytelenül". I find it kind of evident that I have my party posse in mind as they are the one who can actually get the meaning. Yet I've gotten lots of feedback from abroad - that's hard to digest, they don't exactly get the poems like we do.
Recently a Chicago DJ contacted me, he said he wanted to play my tracks and I was like, doesn't this Hungarian talk bother you? He said, "it adds an element of mysticism". He was interested in what those mystical things mean so I sent him a few Ady translations.
THE DOSE: How do you see the local drum and bass scene?
XENOPHOBE: No-how, I only know a few DJs and a couple of amateur producers. Chris.su is the top of Hungarian drumnbass for me, he's all hot, I love his track Undying.
THE DOSE: What about releases and liveacts?
XENOPHOBE: I don't think I could release the Latinovits tracks. I don't feel I'm that good and have the feeling that no labels could afford releasing this, you wouldn't have that many albums sold. I recently had a live act at Budapest, 45 minutes. It was extremely tough putting everything together. Equipment can be a mean and unexpectable little bitch, you have to prepare, test, etc. A lot.
THE DOSE: What are the Xenophobe dreams? Making music in Miami, walking in wads of dough knee-deep with a few..
XENOPHOBE: I could make do with a super sound studio with a top producer.
THE DOSE: Thanks for the interview, what is your message to the Dose readers?
XENOPHOBE: "I remember the happiness of flight, I believe my wings will grow again." (Latinovits Zoltán)