The name Carl Cox needs little introduction to dance music aficionados. A veteran of acid house and techno, he’s become one of the most celebrated DJs on the planet, nurturing the club scene with relentless enthusiasm. A founding father of the emerging British rave scene, Cox’s F.A.C.T. mix CDs were hugely influential in the mid-’90s, followed by releases on his own Intec and Intec Digital labels, which seeded success for dozens more artists down the years.
However, his pioneering career has not been all plain sailing. Disillusioned by the process leading to the release of his 2011 album All Roads Lead To The Dancefloor, Cox swore it would be his last. That all changed when he acquired a Pioneer DJM-V10 6-channel mixer, which allowed Cox to record and remodel stems culled from his hybrid live performances. Captivated by his improvised jams, his passion for music making was instantly renewed, leading to the swift release of his latest studio album Electronic Generations. Now he explains it all…
It’s been 11 years since your last album All Roads Lead To The Dancefloor. Can you tell us what were the reasons for such a lengthy recording break?
When I made that album I was using other people’s studios, but I was never comfortable doing that because the sound, the environment or my head never seemed to be in the right place. I’d write a track and then I’d think to myself, what do I do next, breakbeat, acid, folk? I was fighting to make every single track and an album in its entirety. I stand behind everything I’ve done, but when I was sitting in a studio that wasn’t mine with two producers who I love dearly but had different ideas about how the music should come out, it was quite an arduous task because I wasn’t getting hands on with the gear. With , I wore my heart on my sleeve and used a lot of vocalists, percussionist and guitarists from Melbourne. My only regret was that it was put out independently, so the time, money, ideas, concepts and marketing fell down to] who was running Intec Records for me at the time.
