Interview: Datsik

Troy Beetles, better known as Datsik, has been throwing down bass heavy bangers for quite some time now. Hopping from genre to genre, Datsik is a talented artist who has mastered the art of electronic music and putting on one hell of a show. Although he has been popular for producing dubstep, Datsik recently started his own record label, Firepower Records, which has signed artists such as Delta Heavy and Bare Noise. We were lucky enough to speak with Datsik at Electric Zoo this past  weekend before his set. 

Hey, thanks for taking the time to talk with us. What have you been up to lately besides DJ’ing and producing?

Well, I started a Record Label, Firepower Records. It’s really cool being the boss of something, never really done that so it’s cool to have my own thing. You know, with this label I can take it in any fuckin’ direction I want, so I can put whatever music I want. Basically I’ve been finding all this young, new, talent and dope shit that I’ve been playing in my sets, and taking it and signing it just because I can and it has been awesome. What we’ve been doing as well with all the new kids I’ve been signing is we’re putting together full press kits and everything for them, so we’re getting them started.  We’re getting them interviews and pictures and giving them everything they need to get started as an up and coming DJ. We’ve been spending a bunch of money on PR for the label just trying to get these kids some exposure.

Any specific up and comers we should be looking out for?

Oh definitely, look out for ReKoil and look out for Baron. Baron just dropped an EP, his shit’s really dope. These kids are both 18, they’re from Maryland. This other kid named Nafrim, he’s ridiculous. He’s making the sickest tracks right now. I just signed an EP from him and I can’t wait to drop it, it’s just so good. I’m just really inspired and impressed by all these kids and you know, I think they’re going to have a bright future.

With the accessibility of new technology and the addition of some new genre every day, do you think it has become any easier for anyone to simply pick up equipment and become a DJ?

I think it makes DJ’ing more accessible, but with DJ’ing becoming more accessible you really have to stand out from the rest. I feel like the only way to stand out from the rest is to make your own music. So a lot of these kids can’t even DJ and they are getting booked because they’ve made dope tracks, and that’s the way it goes now. It’s a little upsetting though because you take people like Z-Trip or DJ Craze or any of these guys that are such sick turntablist and you know, those guys are the only ones who are still going to, in my opinion, survive and keep making it as sick DJ’s. Nowadays if you’re going to be a DJ, you have to be phenomenal, you have to be like DJ Kantaro, like doing shit that nobody else can fuckin’ do like crazy scratching and all of that. You have to be insane in order to get recognized. So many people are unaware. It’s a lot more apparent in the US too. People don’t really care what you’re playing on as long as it sounds dope and they can get crazy to it on the dance floor.

What’s the hardest thing for you as an artist, a producer, and as the CEO of a record company?

I would say flying haha. See I’ve been trying to just combine it all into one. I’m so blessed because I have such dope friends. So this tour I’ve been doing, the Firepower tour that we just started, I have my roommate as the production assistant, I have my really good friend from Shambahla [music festival], he’s doing the whole production lead. We got a super sick tour manager who just clicks with everyone, my girlfriend and our other friend runs merch. My homie that I’ve known since I was a toddler is my photographer, he’s amazing. Its like my family, I got my whole crew with me on the road with me so my friends and my work and everything is just completely combined so I couldn’t be more lucky than I am now.

Whats the difference playing here in New York City rather than anywhere else?

Every time I go to New York I get really good weather, it’s never rainy and I’ve been here over ten times. Every single time I come here it’s always sunny so that must be something. The crowds are always really sick, we were at the show last night at the best buy theater when 12^th Planet and Zeds Dead were playing and the kids were just going bananas. I think that dubstep has really caught on in New York and I remember playing here a long time ago, I played at this place called The Dark Room and it was literally just a dark room and there was maybe 200, 300 kids there. And to see where it has gone. Soon enough, Skrillex will be selling out Madison Square Garden and it is just so crazy to see how the whole scene in new york and as a whole has blown up. It’s really great to see.

Where do you think the American EDM scene is headed?

No matter how much pop music you make, there’s always going to be an underground scene. There’s going to be kids that just don’t like the mainstream shit and want to do other shit. I think its cool that there are all these new genres coming up and it’s crucial to the evolution of the scene. It’s especially interesting in the dubstep scene because it is changing so quickly. Now there’s this whole trap explosion and the trap is really catching on. Who knows what’s next, it is going to keep changing and becoming new, because it keeps it interesting as a DJ not having to play the same thing.

You’ve described your music as dark, robotic, and gangster, do you think we’re going to see a trap song from you soon?

Yeah definitely. I’ve been taking a bunch of my old tunes, and trapping them out. A trap remix of Swagga, a trap remix of Firepower, I did a trap remix of Bonafied Hustler, and I’ve been working on a couple other tracks. It’s not because I want to go totally in that direction but I just think that those tracks specifically. It’s just crazy because I think they were meant to be trap to begin with, Guess I got my swagga back, its just perfect for a trap song. Other than that I’m really digging the 110 stuff, the 110 stuff is like the perfect tempo to jump to. You can spin that so many ways, you can make it like 4 to the floor or you can make it a hip hop beat. I think the lines beyond the genres are disintegrating and we’re going to see a very evolved form of EDM.

Today, with how the genre has evolved, do you see yourself planning your sets more complex and diverse rather than the standard bangers?

Today you definitely have to build your sets more intricately. Playing one tempo all night is like eating the same food all day, and that sucks. Unless it’s bacon of course.

So are we going to see anything interesting in your set here at EZOO?

Definitely going to be playing some up and coming shit. I definitely play some deep minimal shit in the middle of my sets and kids mistake it for trap, so I can get away with it, but its just like 2008 dubstep. I’m starting to play some tracks nobody knows of because they only know the newer stuff and it fits in the sets real well, so you can expect some of that tonight too.

Thanks for taking the time to talk with this, stoked for your set.

Event Photos by Nathaniel Dam

Other Tunes You'd Enjoy:

Wobble Wednesday: Datsik – Vitamin D (Album) Wobble Wednesday: Zedd – Stars Come Out (Datsik Remix) Excision & Datsik – Deviance (Dirtyphonics Remix) Wobble Wednesday: Kill The Noise & Datsik – Lightspeed (Original Mix)